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FROM   THE   LIBRARY   OF 
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BEQUEATHED    BY   HIM   TO 

THE   LIBRARY  OF 

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B Q 

69  WASHINGTON  STREET,  BOSTON, 

WOCLD  CALL   PAKTICTLAB  ATTENTION'  TO  THE   FOLLOWING  VALCABLE  WORKS,   DISCRIBKD 
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smith's   natural   HISTORY    OF   THE   SPECIES. 

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ARVINE's  CTCLOPiEDIA   OF   ANECDOTES. 

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VALUABLE     WORKS     ON     MISSIONS. 

THE    psalmist:    a   COLLECTION    OF     HYMNS. 

ELEGANT   MINIATURE   VOLUMES. 

WILLIAMS'     RELIGIOUS     PROGRESS,     AND     LORD's     PRAYER. 

CBUDEN'S   CONDENSED   CONCORDANCE. 

RIPLEY'S    SACRED    RHETORIC,  —  NOTES    ON    GOSPELS    AND    ACTS. 

VALUABLE   SCHOOL  BOOKS.      WORKS   FOR  SABBATH   SCHOOLS. 

WORKS   ON   CHRISTIAN    BAPTISM. 

MAGOON's  republican  CHRISTIANITY,  AND  PROVERBS   FOR  THE   PEOPLE 

CROWELL's  CHURCH  MEMBER'S  MANUAL,   AND   HAND-BOOK. 

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LIFE  AND   CORRESPONDENCE   OP   JOHN   FOSTER. 

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RELIGIOUS     WORKS, 

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TF  P*'!/i 


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NOV  25  1936 


iUi 


HISTORY 


0GICALS\ 


0» 


CHURCH    MUSIC 


AMERICA; 


TREATING     OF 


ITS  PECULIARITIES  AT  DIFFERENT  PERIODS  ;  ITS  LEGITIMATE 

USE  AND  ITS  ABUSE;    WITH   CRITICISMS,   CURSORY 

REMARKS    AND    NOTICES 


RELATING    TO 


COMPOSERS.  TEACHERS,  SCHOOLS,  CHOIRS,  SOCIETIES, 
CONVENTIONS,  BOOKS,  ETC. 


BY 


// 


NATHANIEL    D.   GOULD, 

AUTHOR    OP    "SOCIAL    HARMONY,"    "CHURCH    HARMONY, 
"SACRED   MINSTREL,"   ETC. 


BOSTON: 
GOULD     AND     LINCOLN, 

60    WABHINQTON    STREET. 

1853. 


Entered  according  to  Act  of  Congress,  in  the  year  1863,  by 

GOULD   AND    LINCOLN, 

In  the  Clerk's  Office  of  t!ic  District  Court  of  the  District  of  Massachusetts. 


..  I  c  r  e  o  t  y  r  e  (1    by 

HOBART   &,  ROBBINSy 

BOSTON. 


INTRODUCTION 


The  principal  design  of  the  following  pages  is  to  give  a  plain, 
simple  and  concise  account  of  Sacred  Music  in  America,  for  the  last 
iBighty  years.  We  have  waited  long,  with  the  ardent  desire  that 
some  one  with  ample  means  and  skilful  pen  might  do  well  what  wo 
are  sensible  we  have  done  imperfectly.  But,  having  waited  thus  long 
in  vain,  and  being  admonished  by  age  and  other  circumstances  that 
what  xce  do  must  be  done  quickly,  and  that,  unless  accompUshed  by 
some  one  soon,  the  history  must  forever  remain  a  mere  matter  of 
hearsay,  as  none  will  be  left  to  perform  the  task,  or  to  "  speak  that 
they  do  know,  and  testify  that  they  have  seen,"  we  have  been  con- 
strained, in  view  of  these  considerations,  and  the  solicitude  of  friends, 
to  undertake  so  important  and  in  many  respects  difficult  a  task. 
When  we  find  elaborate  and  well-digested  histories  of  almost  every 
other  important  subject  touching  the  past,  others  as  well  as  ourselves 
may  well  be  surprised  that  a  narrative  of  this  kind  has  not  long  ere 
this  been  presented  to  the  public ;  as  it  is  a  subject  so  intimately  con- 
nected with  the  prosperity  of  Zion. 

The  Rev.  W.  Burton,  a  friend  of  education  and  humanity,  a  few 
years  since  wrote  a  history  of  the  "  Village  School  as  it  was  ;"  and 
although  it  purports  to  be  the  picture  of  a  single  school,  wc  presume 
the  description  will  be  found  to  delineate  well  the  history  of  most 
schools  in  past  times.    So,  of  what  we  write  of  Singing-schools, 


IV  INTRODUCTION. 

Choirs,  etc.,  "  as  they  were,"  ample  testimony  maybe  found  to  show 
that  all  were  similar  in  regard  to  conveniences,  limited  time,  means 
of  instruction,  and  scarcity  of  books.  We  did  not  deem  it  advisable 
to  commence  our  narrative  abruptly  at  the  period  of  1770,  lest  the 
inquiry  should  come  up,  "  What  has  this  to  do  with  church  music?" 
We  therefore  commence  back,  and  first  take  a  view  of  music  as  used 
for  sacred  purposes,  when  patriarchs,  prophets  and  apostles  lived, 
and  took  a  part  in  its  promotion  and  performance.  We  also  take  a 
glance  at  the  music  of  ancient  nations  since  the  Christian  Era,  not 
passing  unnoticed  on  our  way  Martin  Luther,  the  great  reformer  of 
religion,  if  not  of  music.  We  then  pass  hastily  on  to  our  Pilgrim 
Fathers,  embarking  for  this  land  where  no  harmonious  sounds  had 
ever  been  heard,  with  some  ten  or  twelve  tunes  imprinted  on  their 
hearts  and  fresh  in  their  memories,  and  with  Ainsworth's  Psalms 
inseparably  connected  with  their  Bible. 

In  pursuing  our  history  of  American  Music,  we  find  W.  Billings 
holding  a  prominent  place  as  author  and  teacher,  and  in  many 
respects  a  pioneer  in  American  Church  Music ;  and  his  history  wo 
have  briefly  noticed.  Owing  to  the  difficulty  of  gaining  satisfactory 
information,  we  may  have  omitted  some  of  those  who  deserve  a 
prominent  place ;  and  may  also  have,  notwithstanding  all  our  scru- 
pulous care,  made  some  errors  in  statements.  We  have  mentioned 
some  modern  authors  who  are  not  living ;  but  of  living  authors,  wo 
say  little  or  nothing. 

In  accomplishing  our  task,  it  seemed  necessary  to  enter  somewhat 
minutely  into  particulars  in  regard  to  the  character  of  the  music 
employed  ;  the  various  changes  through  which  it  has  passed  ;  the  dif- 
ferent modes  of  teaching;  the  formation  of  societies,  choirs,  etc.,  and 
the  manner  of  conducting  them  ;  the  interest  or  lack  of  interest  mani- 
fested by  ministers  and  people  ;  and  the  introduction  of  instruments 
in  the  performance  of  Church  Music. 

N.  D.  Gould. 

Boston,  Oct.,  1852. 


CONTENTS 


•^  CHAPTER  I. 

BIBLE  IIISTOEY  OP  MUSIC. 

PAGB 

Music  when  Time  began.  —  Extract  from  Miss  II.  F.  (Jould's  Poem,  .    .  13 

Harmony  destroyed.  —  Exertions  to  restore  it, 14 

Music  and  Prayer  the  only  Acts  of  Worship.  —  The  Voice  of  Melody  tho 

Gift  of  God,  . 15 

When  Music  commenced.  —  First  Music  and  Instruments, 16 

Tho  Human  Voice  God's  Instrument.  —  Changes, 17 

Holy  Men  of  Old  engaged  in  the  Cause.  —  Music  of  tho  New  Testament,   .  18 

Singing  at  the  Lust  Supper, 19 


CHAPTER  II. 

ANCIENT  CHURCH   MUSIC   IN   EUROPE  AND   AMERICA. 

Music  in  Greece, 22 

The  Lyre.  —  The  IJlute.  —  The  Scale.  —  Notation  and  Manner  of  Singing,  23 
Roman  National  Music,  etc.  —  Pietro  Martini.  —  Usonian  Song.  —  Gre- 
gorian Chant, 21 

Musical  Notation, 25 

Popular   Airs   harmonized.  —  Pope   disgusted.  —  Worthy  Authors    and 

Music, 2G 

Music  in  Protestant  Churches, 27 

Musical  Dramas.  —  Sacred  Subjects.  —  First  Printed  Music. —  Authors,  etc.  28 

Sternhold  and  Hopkins, 29 

1# 


VI  CONTENTS. 

Confession  of  Puritans William  Damon,      30 

Directions  of  Westminster  Divines.  —  Music-books  destroyed, 31 

Ilandel,  Haydn,  Mozart,  &c.  —  Ancient  Church  Music  in  America,  Ains- 

worth's  Psalms,      32 

Bay  Psalm-book.  —  Prejudices  and  Scruples.  —  Cotton's  Circular. —  Objec- 
tions answered,      33 

Walter's  Description  of  Singing, 34 

Singing  at  College  and  among  the  Indians  —  First  Reformation  of  Music,  .  35 

First  Books  of  Music, 36 

Thomas  Walter.  —  Rev.  Mr.  Barnard.  — Williams  and  Tansur, 37 

James  Lyon.  —  Josiah  Flagg.  —  Thomas  Bay  leys, 38 


CH.VPTER  m. 

AMERICAN  PSALMODY   FROM  1770. 

Change  of  Music  in  America, 39 

Prejudice  against  European  Tunes.  —  State  of  Society, 41 

Origin  of  Fugueing  Music.  —  Billings  a  Pioneer, 42 

Political  Effect  of  Music, 43 

Billings'  Concerts  and  Exhibitions, 44 

Billings'  Voice ;  Personal  Appearance  and  Habits.  —  Of  Lining  the  Hymn,  46 

Billings'  Musical  Publications, 48 

American  Authors.  —  Musical  Notes  and  Characters, 62 

Of  English  Methods  of  Teaching.  —  Miss  Glover  and  Others, 65 


CHAPTER  IV. 

PROGRESS  OF   MUSIC  IN   AMERICA. 

Hubbard's  Opinion  of  Fugueing  Music, 67 

Dark  Age,      68 

Negligence  of  Churches.  —  Character  of  Music  and  Performers  changed,    .  59 

Authors.  —  Andrew  Law, CO 

Oliver  Holden, 61 

Samuel  Holyokc, 62 

Jacob  Kimball, 63 

Head. — French.  —  Swan.  —  J.Hubbard, 64 

Dutton.  —  Oliver  Shaw, 66 

E.  L.  AVhite, 68 


CONTENTS.  VII 

Salom  and  Middlesex  Societies, C9 

Published  Music. — Clashing  of  Old  and  New  Schools,  and  Books,    ....  70 
Contention  in  Choirs.  —  Difiference  of  Taste.  —  Ignorance  of  the  Science  of 

Music, 71 

New  Era  in  Musical  Publications, 72 

Advance  of  the  Science. — Teachers.  —  J.  Bailey  and  Others, 73 


CHAPTER  V. 

ESTABLISHMENT  OF  SCHOOLS. 

Description  of  Schools  before  Billings.  —  Limited  Means, 76 

Effect  of  Billings' Music  and  Schools.  —  Kudiments  of  Music, 77 

Schools  from  1770  to  1800. —Object  of  Schools, 78 

Formation  of  Schools.  —  Subscribers  for  Schools, 79 

Location  of  Schools.  —  Instruction, 81 

Inconveniences  and  Want  of  Accommodations, 82 

The  First  Movements  in  Teaching.  —  Result  of  Subscriptions, 83 


CHAPTER  VI. 

TEACHERS  AND  TEACHING. 

Teaching  the  Theory  of  Music, 85 

Trying  the  Voice, 86 

Difference  in  Voices.  —  Unmanageable.  —  Limited  Compass, 87 

Correct  Ears?  but  Rebellious  Voices.  —  Natural  Singers  have  not  always 

Correct  Voices, 88 

Suggestions, 89 

Correct  Voices  and  Ears.  —  Rejection  of  some.  —  Learning  the  Rules,     .   .  91 

How  and  what  Taught, 92 

Change  in  the  Names  of  Notes, 93 

Distributing  the  several  Parts  or  Voices,      91 

Beating  Time.  —  Different  Modes  of  Time.  —  Beating  is  not  Keeping 

Time, 96 

Beginning  to  sing  Tunes, 96 

Deficiency  of  Books.  —  Music  did  not  allow  Expression, 97 

Old  Singers  in  New  Schools, 98 

Ready  for  Church, 99 


Vni  CONTENTS. 

CHAPTER  Vn. 

MUSIC  IN  CHURCHES. 

Exhibition  of  Schools,  and  Clergyman's  Address, 101 

Refreshments  at  Recess,      102 

Organization  of  the  Choir.  —  Choice  of  Officers, 103 

Highest  Seats.  —  Remedy  for  those  who  contend  for  Scats, 104 

Caste  among  Singers, 105 

Choir  dispersed.  —  What  the  Resort, 106 

Foibles  and  Virtues  of  Singers.  —  Changes  in  Choirs, 107 

Favorite  Leaders.  —  Case  of  Extreme  Obstinacy, 108 

Location  in  the  Church, 109 

One  Leader  ;  his  Responsibility  ;  his  Place  in  the  Scats, Ill 

Method  of  finding  and  establishing  the  Pitch  of  a  Tune, 112 

Tunes  committed  to   Memory.  —  Its  Advantages, 113 

Multitude  of  Books  at  the  present  Day. — Inconveniences, 114 

Same  Tunes  will  not  suit  all, 115 

Demeanor  of  Singers  in  Church, 116 

Fault  sometimes  in  the  Leader.  —  Irreverence  of  Choirs, 117 


CHAPTER  Vni. 

PROGRESS  OF  MUSICAL  INSTRUCTION. 

Change  of  Music.  —  Discussions.  —  Old  Hundred  Secoders, 119 

Old  School  prevailed.  —  Struggle  for  Possession  of  Seats.  —  Reformation 

in  Teaching  and  Music, • 120 

Attempt  to  Harmonize  correctly.  —  The  Public  interested.  —  Change  of 

Books, 121 

Tenor  Voices  put  in  Place, 122 

Example  in  a  School. — Lectures  introduced, 123 

Children  taught.  —  Objections  of  Parents 124 

First  Juvenile  Schools.  —  Saying  of  Horace  Waliwle, 126 

New  Methods  of  Teaching,  and  New  Music  for  Children, 1^6 

Defects  in  Instruction.  —  Exhibitions  of  Children's  Pinging, 127 

Excitement  abated. — Means  for  Instruction  still  limited, 128 

Step  towards  Congregational  Singing, 129 


CONTENTS.  IX 

CHAPTER  LX. 

SCHOOLS  SINCE  1800. 

Schools.  —  A  Praying  Teacher, .   .   .  130 

Effects  of  Revivals  of  Religion  on  Singing, 131 

Progress  of  Instruction.  —  Pestalozzian    System.  —  Boston   Academy    of 

Music  — Old  Teachers, 132 

Consequence  of  Want  of  Time  for  thorough  Teaching, 133 

The  Black-board  in  Adult  Schools.  — Good  Results  of  the  Academy.  —  De- 
clension, and  Causes, 134 

Instruments  with  Singing.  —  What  was  urged  in  Lectures, 135 

Leaders  preceding  Singers.  —  Schools  without  Instruments, 136 


CHAPTER  X. 

MUSIC  AND  TEACHING  IN   THE  WEST. 

Influence  of  Emigrants  from  New  England, 138 

State  of  Music  in  Cincinnati.  —  Cry  of  Dr.  Beccher, 139 

Kind  of  Notes  used.  —  Change  of  Notes  effected  by  T.  B.  Mason,  ....  140 
Juvenile  and  Adult  Schools.  —  Professor  of  Eclectic  Academy.  —  William 

Colburn, 141 

Locke,  Noursc  and  Aikin,  and  Others, 142 

Teachers  all  from  New  Hampshire  and  Massachusetts, 143 


CHAPTER  XI. 

IMPEOPRIETIES  IN  EXECCTION. 

Singing  of  Solos  and  Duets, 145 

Inattention  to  Accent,  Words,  etc., 146 

Unsuitable  Words.  —  Irregular  Poetry, •  .    •    .147 

Words  with  Improper  Accent.  —  False  Accent  from  Location  of  Notes,    .    .  148 

Force  of  Accent.  —  Governed  by  Words.  —  Enunciation, 149 

Taking   Breath   improperly.  —  Careless  Manner  of  Finishing  Words.  — 

Leading  Notes, 150 

Embellishments.  —  Application  of  Slurs, 151 

Repeated  Accent  in  Singing, 152 


X  CONTENTS. 

Inappropriate  Graces  in  Singing.  —  Abuse  of  the  letter  R, 153 

Gesticulation, ]^54 

Bad  Habits  not  perceived  by  Ourselves.  —  Saying  of  Tosi, 155 

SayingofBattisbill,  and  a  German  ViolonccUo-playcr, 156 


CHAPTER    XII. 

EXPRESSION   AND   ADAPTATION. 

Dr.  Beattie's  Saying. — Importance  of  Expression, 157 

Hooker.  —  First  Directions  to  Words, 158 

Characters  to  indicate  Expression.  —  Words  must  be  anticipated  and  felt,  .  159 

Old  Style  of  Singing. —Want  of  Adaptation, IGO 

Difficulty  of  adapting  Tunes  to  Hymns.  —  Words  for  Particular  Occasions,    IGl 
Perceptible  Improprieties.  —  A  Traveller's  Representation  of  a  Perform- 
ance,    1G2 

Voices  inadequate  to  Music  selected.  — Pauses  in  Singing.  —  Observance 

of  Punctuation, 104 

Uniformity  necessary. —Conduct  badly  adapted, 165 

Feelings  adapted  to  the  Subject, ICG 


CHAPTER  XIII. 

INSTRUMENTS  OF  MUSIC. 

Puritan  Fathers  rejected  Instruments.  —  Bass-viol  introduced, 168 

Human  Voice  uncertain  in  giving  the  Pitch  of  a  Tune.  —  Pitch-pipe  the 

First  Instrument  used, 169 

Tuning  Fork,  and  Brass  Reed. — Opposition  to  the  Bass-viol  or  Violon- 
cello,   170 

Extreme  Case  of  Opposition  cured, 171 

Different  Instruments  introduced, 172 

Flute,  Hautboy,  Clarinet  and  Bassoon,      173 

Perplexities  attending  them.  —  Instrumental  Accompaniments, 174 

Confusion  of  Instruments. — Playing  of  Interludes,  etc., 175 

Privilege  of  Players  on  Instruments, 17G 

History  of  the  Organ.  —  First  Organ  built  in  America.  — The  First  Organ 

introduced  in  America, 177 

Its  History.  —  Organs  astonish  all, 178 


CONTENTS.  XI 

Former  Objections  to  Organs.  —  Change  in  playing  it, 179 

DiflBculty  of  procuring  Good  Organists.  —  Organs  and  Singers  not  moving 

together, 180 

Advantage  of  having  the  Organ  move  in  advance,       181 

Interludes  and  Voluntaries,    / 182 

Instruments  attempt  to  imitate  the  Organ, 183 


CHAPTER  XIV. 

SOCIETIES,  ACADEMIES,  CONVENTIONS  AND  CONCERTS. 

Our  Fathers'  Meetings  for  Singing.  —  Billings'  Concerts,  by  Schools  and 

Societies, 185 

Other  Teachers  followed  his  Example, 186 

Choirs  formed  into  Societies.  —  Small  Societies  Tributary  to  Largo  Ones.  — 

•      Sacred  Concerts, 187 

Pecuniary  Concerns.  —  Want  of  Patronage.  —  Deception, 188 

Particulars  of  N.  II.  Musical  Society.  —  Instruments  in  those  Days,  .   .    .  189 

Billings  and  Uoldcn  Society.  —  Competition, 190 

Conventions.  — Object  of  Conventions, 191 

EfiFect  of  Secular  Music  with  Sacred.  —  Concerts  of  Sacred  and  Secular 

Music, 192 

Advertisements  for  Concerts. — Dialogue, 193 

Good  accomplished, 194 


CHAPTER   XV. 

CHURCHES,  MINISTERS  AND  CONGREGATIONS. 

Music  in  Churches  improved.  —  Inattention  of   Congregations  to  Sing- 
ing,      195 

Quakers  less  Guilty.  —  Worshipping  God  by  Proxy.  —  Foreigner's  Visit 

to  American  Churches, 196 

Reasons  for  hiring  Theatrical  Singers.  —  Reasons  for  the  Young  under- 
valuing Singing  in  Churches.  —  Errors  of  Clergymen, 197 

Complaints  and  Perplexities, 198 

Minister's  Connection  with  Singers, 199 

Attitude  in  Singing,      200 

Dr.  Romaine, 201 

Churches  and  Congregations  connected.  —  Likes  and  Dislikes   of  Hearers. 

—  Complaints  of  the  Manner  of  Singing, 202 


Xn  CONTENTS. 

Complaints  of  Tunes  sung, 203 

Opinions  of  Chants  and  Anthema.  —  Of  Expression  in  Words  and  Music,     .  204 
Of  Organ-playing.  —  Proniiscuous  Singing  in  the  Congregation, 205 


CHAPTER  XVI. 

EFFECTS  OF  MUSIC. 

Music  God's  Gift  to  Man  for  a  Sacred  Purpose.  —  Extract, 208 

Different  Effects  of  Music. — Effects  in  Scripture  Times, 209 

Sayings  of  Martin  Luther, 210 

Dr.  Pomeroy's  Description  of  Music  in  Constantinople.  —  Effect  of  the  Per- 
formance of  Handel's  Messiah.  —  Of  a  Band  of  Music  on  Savages,  .   .  211 
Barbarous  Conquerors  subdued.  —  Singing  at  the  Siege  of  York,      ....  212 
Music  at  the  Battle  of  Quebec.  —  Among  the  Ancients. —  Peruvian  Indians,213 

Law-suits  settled  in  Greenland.  —  Of  National  Music, 214 

Cases  of  Insanity  Cured.  —  Secular  Music  in  the  Days  of  our  Fathers,      .    .  215 

Want  of  Knowledge  in  Music.  —  A  Sultan  in  Constantinople, 216 

Ostinelli's  Performance. — False  Notions  of  Music, 217 

Effects  lost  mixed  with  Talking.  —  Effects  of  Different  Instruments,    .    .    .  218 
Vocal  Music  of  Different  Character  produces  Different  Effects.  —  In  the 

Theatre.  —  Church  Music  outlives  all  other  Kinds, 219 

Effects  of  Bad  Congregational  Singing, 220 

Good  Congregational  Singing.  —  Convention  of  Singers, 221 

Convention  of  Churches, 222 

On  an  Individual, 223 

Singing  of  Children.  —  The  Clergyman's  Family, 224 

On  Preachers  of  the  Gospel. — Of  a  Single  Voice, 225 

The  Nobleman's  Daughter, 226 

On  the  Bed  of  Death,  and  at  a  Funeral, 227 

Importance  of  Music  in  the  World, 228 


CHAPTER  I. 
BIBLE  HISTORY  OF  MUSIC. 

Music  when  Hme  began.  —  Extract  from  II.  F.  Gould's  Poem.  —  Harmony 
destroyed.  —  Exertions  to  restore  it.  —  Music  and  Prayer  the  only  Acts  of 
Worship.  —  The  ^'oice  of  Melody  the  Gift  of  God. — When  Practical  Music 
commenced.  —  First  Music  with  Instruments.  —  The  Human  Voice  God's 
Instrument.  —  Holy  Men  of  Old  engaged  in  it.  —  Singing  in  the  New  Testa- 
ment —  by  Angels  —  Children,  Paul  and  Silas.  —  Christ  and  his  Disciples. 

When  we  reflect  on  the  subject  of  music  or  harmony,  our  minds 
are  instantly  carried  back  more  than  five  thousand  years,  when  all 
was  harmony.  God,  in  his  infinite  goodness,  created  man  with 
music  in  his  soul,  and  melody  in  his  voice ;  so  that,  when  he  had 
finished  the  work  of  creation,  men  and  angels  might  unite  in  one 
glorious  song  of  praise.  But,  alas  !  that  song  was  short.  A  dis- 
cordant note  was  soon  heard. 

The  introduction  of  music,  at  the  commencement  of  time,  is  well 
portrayed  in  the  following  extract  from  a  poem  on  music,  by  Miss 
H.  F.  Gould  : 

"  Music  !  a  blessed  angel  she  was  born, 
Within  the  palace  of  the  King  of  kings,  — 
A  ftivorite  near  his  tlirone.     In  that  glad  child 
Of  love  and  joy,  he  made  their  spirits  one. 
And  her  the  heir  of  everlasting  life. 
When  his  bright  hosts  would  give  him  highest  praise, 
They  send  her  forward  with  her  dulcet  voice. 
To  pour  her  holy  rapture  in  their  ear. 
When  the  young  earth  to  being  started  forth, 
Music  lay  sleeping  in  a  bower  of  heaven  ; 

When,  suddenly, 
A  shout  of  joy  from  all  the  sons  of  God 
Rang  through  his  courts  ;  and  then  the  thrilling  call : 
2 


14  BIBLE  HISTORY   OF   MUSIC. 

Wake  !  Sister  Music,  wake  !  and  hail  with  ns 

A  new-created  sphere  ! 

She  woke  ;  she  rose  ; 

She  moved  among  the  morning  stars,  and  gave 

The  birth-song  of  a  world. 

Since  that  blessed  hour, 
Whilst  heaven  is  still  her  home.  Music  has  ne'er 
This  darkened  world  forsaken.     She  delights, 
Though  man  may  lose  or  keep  the  paths  of  Peace, 
To  soothe,  to  cheer,  to  light  and  warm  his  heart, 
And  lends  her  wings  to  waft  him  to  the  skies." 

HARMONY   DESTROYED. 

While  for  a  moment  we  confine  our  thoughts  to  that  first  scene 
and  song,  we  are  filled  with  admiration ;  for,  while  our  first  parents 
were  innocent,  their  every  breath  was  praise.  In  the  midst  of 
this  enraptured  scene,  subsequent  history  presses  in  ujwn  our 
minds,  and  we  are  instantly  hurried  forward  but  a  step  or  two  in 
the  history  of  man,  when  all  is  confusion  and  discord.  Man 
deigned  to  take  the  instrument,  which  came  from  God's  own  hand 
in  perfect  tune,  seeming  to  doubt  its  perfection,  and  by  one  fatal 
act  destroyed  both  melody  and  harmony  throughout  the  new-created 
world. 

EXERTIONS   TO   RESTORE   IT. 

From  that  time  to  the  present,  good  men  of  every  age  have 
been  attempting  to  restore  a  faint  resemblance  of  that  harmony 
which  was  lost  by  man's  transgression,  and  to  harmonize  the  dis- 
cordant feelings  of  mankind.  No  expedient,  save  that  of  the 
gospel  of  Jesus  Christ,  has  done  so  much  to  soften  the  ferocious 
propensities  of  human  nature  as  the  employment  of  sacred  music ; 
while  the  arch  enemy  of  man,  who  tempted  our  first  parents  to  that 
dreadful  act,  has  ever  since  been  busily  engaged  in  frustrating  the 
designs  of  good  men  of  every  age,  and  nowhere  else  so  untiring  as 
with  the  lovers  and  performers  of  sacred  music.  The  music  of 
the  church  ever  has  been,  and  ever  will  be,  an  invincible  enemy. 


BIBLE   HISTORY   OF   MUSIC.  15 

MUSIC   AND   PRAYER   THE   ONLY   ACTS   OF   WORSHIP. 

It  would  probably  be  interesting  to  some,  and  profitable  to 
many,  should  we  trace  music,  from  its  origin,  all  along  through 
Bible  history,  and  mark  minutely  its  grand  and  solemn  exhibitions 
as  an  act  of  worship,  ^ye  should  find,  all  along,  equally  prominent 
and  equally  solemn,  prayer  and  praise ;  always  coupled  together  as 
acts,  and  the  only  direct  acts,  by  which  God  was  worshipped,  they 
always  have  gone,  and  always  will  go,  hand  in  hand.  If  religion 
languishes,  so  will  sacred  music.  The  same  sentiments  and  lan- 
guage are  used  for  both ;  but  singing  seems  to  have  been  consid- 
ered the  higher  order,  and  the  very  climax  of  expression  and 
devotion ;  and,  when  the  power  of  speech  has  failed  to  give  utter- 
ance to  the  feelings  of  the  heart,  the  addition  of  melodious  sounds, 
both  of  voices  and  instruments,  has  been  called  in  to  give  full  vent 
to  holy  afiections. 

Neither  our  object  or  our  limits  will  permit  us  to  give  but  a  mere 
sketch  of  music  as  alluded  to  in  the  Bible.  Numerous  lectures 
and  sermons  have  been  written  to  describe  those  grand  and  solemn 
performances,  and  bring  them  down  through  the  history  of  after 
centuries  to  the  present  time ;  and,  although  the  links  may  often 
seem  defective  and  irregular,  if  not  broken,  still  God's  praises 
have  always  been  sung  among  his  saints,  and  he  has  ordained 
that  they  always  shall  be,  —  that  it  has  been  so  from  the  begin- 
ning, and  he  will  never  suffer  it  to  be  otherwise. 

THE    VOICE   OP    MELODY   THE   GIFT   OF    GOD. 

Music,  though  a  complex  and  difficult  art,  is,  in  truth,  evi- 
dently the  gift  of  the  Author  of  nature  to  the  whole  human 
race.  Its  existence,  in  some  form,  is  to  be  traced  in  the  records 
of  every  people,  from  the  earliest  ages  to  the  present  time,  in  every 
quarter  of  the  globe. 

The  infinite  variety  of  sounds  we  hear,  produced  by  waters,  birds, 
animals,  and  the  human  voice,  afiect  us  with  more  or  less  pleasure. 

The  only  exceptions  are  those  that  warn  us  of  something  to  be 
feared,  such  as  the  hissing  of  serpents,  or  the  howling  of  wild  beasts ; 


16 


BIBLE  HISTORY   OF   MUSIC. 


but  the  melodious  sounds  of  the  human  voice  affect  us  most  when 
united  with  speech  or  words.  It  then  delights  the  ear,  touches 
the  heart,  as  language  alone  cannot.  This  pleasure  derived  from 
music  must  have  been  implanted  in  our  nature,  capable,  however, 
of  great  improvement. 

•  WHEN   MUSIC    COMMENCED. 

The  history  of  music,  as  we  have  seen,  begins  with  the  history 
of  man.  Scanty,  indeed,  are  the  materials;  and,  after  all,  conjec- 
ture must  do  much  in  describing  its  pathway  from  age  to  age. 
Although  volumes  have  been  written  to  describe  it,  still  there  are 
few  facts  contained  in  them  all  which  are  satisfactory. 

In  the  Bible  history  of  the  art,  as  used  for  sacred  purposes,  we 
soon  find  man  using  his  voice,  and  inventing  instruments  to  assist 
it  in  sounding  praise  to  God. 

FIRST   MUSIC   AND   INSTRUMENTS. 

The  first  mention  of  music  is,  that  Jubal,  the  sixth  from  Cain, 
is  said  to  be  the  father  of  all  such  as  "  handle  the  harp  or 
organ."  The  French  translate  it,  "  violin  and  organ."  Not  know- 
ing, however,  anything  of  their  form  or  sound,  we  can  only  infer 
that  one  was  a  stringed  and  the  other  a  wind  instrument.  "We 
may  also  infer  that  the  voice  of  music  had  been  cultivated  long 
before  the  instruments  of  Jubal ;  for  how  could  instruments  be 
tuned,  until  the  voice  and  ear  dictated  the  tone  ? 

What  progress  was  made  in  the  art  of  music  by  the  antedi- 
luvians is  unknown ;  for  their  improvements  are  buried  with  them 
in  oblivion. 

The  next  mention  made  of  music  is  in  Genesis,  thirtieth  chap- 
ter, when  the  language  of  Laban  to  Jacob  was,  "  "Wherefore  didst 
thou  flee  away  secretly,  and  steal  away  from  me,  and  didst  not 
tell  me,  that  I  might  have  sent  thee  away  with  mirth  and  with 
songs,  with  tabret  and  with  harp?"  Next,  Exodus  fifteenth 
chapter.  Here  we  find  that  Moses  and  the  children  of  Israel 
shouted  forth  these   words :  "  Sing  ye  unto   the  Lord,  for  he 


BIBLE   HISTORY   OF    MUSIC.  17 

hath  triumphed  gloriously.  The  horse  and  his  rider  hath  he 
thrown  into  the  sea,"  <tc. ;  closing  with,  "  The  Lord  shall  reign 
for  ever  and  ever."  Then  comes  the  response  from  the  women, 
when  Miriam  the  prophetess  took  a  timbrel  in  her  hand,  and  all 
the  women  went  out  after  her,  with  timbrels  and  with  dances, 
repeating  the  same  words,  —  "  Sing  ye  to  the  Lord,  for  he  hath 
triumphed  gloriously."  These  words,  sung  by  Miriam,  contain  the 
first  specimen  of  lyric  poetry  on  record. 

In  after  time,  the  harp,  lyre,  trumpet,  organ,  &c.,  had  been 
contrived,  and  used  by  man  for  the  purpose  of  assisting  the  voice. 

THE   HUMAN    VOICE   GOD's   INSTRUMENT. 

All  unassisted  instruments,  however,  sink  into  insignificance  when 
compared  with  the  instrument  that  God  has  given  man  to  praise 
him,  which  is  the  human  voice.  The  ingenuity  of  man  may  invent 
instruments  to  make  a  pleasant  noise;  this  noise  can  be  modulated 
into  soft  and  loud,  pathetic  and  solemn  tones,  to  please  and  astonish ; 
but,  after  all,  it  is  but  an  accompaniment,  —  it  is  nothing  but  sound. 
They  cannot  be  made  to  articulate  these  words  :  "  Hear  my  prayer, 
0  Lord  !  "  or,  "  Praise  the  Lord,  0  my  soul ! "  The  human  voice 
and  tongue  alone  can  do  it.  Hence  the  royal  Psalmist,  when  he 
calls  upon  "  everything  that  hath  breath  to  praise  the  Lord," 
understands  the  distinction  when  he  says,  "The  singers  went 
before,  and  the  players  on  instruments  went  behind;"  an  important 
example,  not  always  observed  at  the  present  day,  in  practice,  if  in 
location. 

CHANGES. 

The  changes  that  have  taken  place,  since  the  days  of  Jubal,  in 
the  manner  of  using  the  voice,  the  different  tones  produced,  the 
extent  and  division  of  the  scale,  the  combination  of  sounds,  and 
the  manner  of  applying  singing  in  the  worship  of  God,  cannot  Ix; 
definitely  described.  It  is  sufficient  for  us  to  know  that,  with  all 
nations  of  the  earth  where  God  has  been  worshipped,  prayer  and 
praise  have  constituted  that  worship ;  and  that  those  who  learn  to 
2* 


18  BIBLE   HISTORY   OF   MUSIC. 

sing  with  the  spirit  and  understanding  on  earth  will  be  permitted 
to  sing  the  song  of  Moses  and  the  Lamb  forever  in  a  better  world. 
We  can  also  learn  that  the  power  of  uniting  voices  belongs  only 
to  man.  The  birds  can  sing,  each  its  own  tune ;  but  thousands 
and  millions  of  men,  women  and  children,  can  unite  their  voices ; 
and  every  additional  well-trained  voice  adds  to  the  effect. 

HOLY  MEN  OF  OLD  ENGAGED  IN  THE  CAUSE. 

All  holy  men,  like  David  and  Hezekiah,  are  found  rejoicing  in 
the  privilege  and  honor  of  leading  the  multitude  of  worshippers 
around  them  in  sacred  song.  At  one  time,  we  find  four  thousand 
Levites  in  the  Tabernacle,  divided  into  twenty-four  courses,  with 
two  hundred  and  eighty-eight  teachers,  or  leaders ;  and,  in  all 
instances,  they  rose  up  and  sung.  Unlike  this  is  the  practice  of 
the  present  day ;  when  not  many  of  the  great,  the  rich,  or  the  noble, 
are  found  among  those  who  engage  in  singing  in  the  sanctuary ;  and 
in  many  instances  both  singers  and  hearers  treat  the  sul^ject  -with 
so  much  indifference,  that  they  cannot  take  the  trouble  to  rise  up 
in  this  grand  act  of  devotion. 

Solomon  says,  "  I  gat  me  men  singers,  and  women  singers,  and 
instruments,  the  delight  of  men,  of  all  sorts."  It  is  said  his  songs 
were  one  thousand  and  five. 

At  the  dedication  of  the  Temple,  it  is  supposed  there  were  more 
than  fifty  thousand  employed  as  singers. 

The  eighth  psalm  is  addressed  to  Bcuaiah,  the  chief  of  the  band 
of  young  women  who  sang  in  the  service  of  religion. 

Women  were  thus  early  associated  in  acts  of  worship,  and  were 
instructed  in  music;  for  at  that  joyous  and  glorious  day  for  God's 
children,  women  took  a  part. 

MUSIC   OF    THE    NEW   TESTAMENT. 

Music  in  the  first  ages  of  the  Christian  church,  at  the  time  of 
the  Saviour's  birth,  was  used  in  all  the  religions  of  the  nations 
about  Judea ;  but  what  that  music  was,  is  a  matter  of  uncertainty. 


BIBLE  HISTORY  OF   MUSIC.  19 

The  following  aro  some  of  the  examples  of  sin^ng  when  our 
Saviour  was  on  earth  : 

The  first  strain  of  the  music  of  the  church,  —  "  Glory  to  God 
in  the  highest,  and  on  earth  peace,  good  will  towards  men,"  — 
was  sung  by  an  angelic  choir,  telling  of  the  birth  of  the  Saviour. 

Children  sang,  "  Hosanna,  —  blessed  is  he  that  cometh  in  the 
name  of  the  Lord,  Hosanna  in  the  highest." 

"And  at  midnight  Paul  and  Silas  prayed  and  sang  praises,"  &c, 

SINGING   AT   THE   LAST  SUPPER. 

When  we  trace  this  part  of  the  worship  of  holy  men,  before  wo 
come  to  the  close  of  God's  word,  a  scene  is  described  more  inter- 
esting than  any  one  before  it,  not  for  its  grandeur  and  display,  but 
the  occasion.  It  is  when  the  Saviour  of  the  world  and  his  disciples 
met  for  the  last  time,  and  closed  the  solemn  exercises  by  singing 
a  hymn.  The  words  of  that  hymn  are  not  recorded ;  and  perhaps 
it  is  well  that  they  were  not ;  for,  if  they  had  been  written,  we  have 
reason  to  suppose  that  in  every  age  they  would  have  been  profaned 
by  a  wicked  world,  like  all  others  in  the  Bible.  We  are  obliged, 
however,  to  conclude  that  poetry,  as  well  as  music,  was  in  some 
manner  cultivated  at  that  time  ;  for  what  psalm  would  be  appropri- 
ate for  that  solemn  and  momentous  occasion  ?  And  when  they  had 
sung  an  hymn,  they  went  out  into  the  Mount  of  Olives.  This 
was  sung  by  those  whose  hearts  were  pure.  How  many  would  be 
glad  to  sing  those  words  !  Although  lost,  it  would  be  well  if  wc 
could  imitate  the  pure,  meek,  and  loving  spirit  that  breathed  forth 
the  song. 

But  we  must  confine  ourselves  more  strictly  to  narrative ;  for 
the  subject  of  praising  God,  as  recorded  in  his  word,  both  on  earth 
and  in  heaven,  is  too  sublime  for  us  to  present  in  its  true  light. 
It  is  a  subject  worthy  the  mightiest  intellect  of  man,  —  yea,  great 
enough  for  an  angel ;  and  probably  they  alone  can  fully  under- 
stand its  import.  The  employment  of  praise  or  singing  is,  for 
aught  we  know,  the  only  talent  or  acquisition  on  earth,  transferred 
to  heaven. 


CHAPTER  II. 

ANCIENT  EUROPEAN  MUSIC  AND  INSTRU^IENTS. 

Uncertainty  of  History.  —  Insta,nces  in  the  Biblo  understood.  —  Inferences 
from  what  we  do  know.  —  Clashing  of  Authors.  —  Secular  Music.  —  Noblest 
Strains  in  the  Church.  —  Inferences. — Different  Methods  of  Singing  the 
Psalms.  —  Changes.  —  The  Lyre.  —  The  Scale.  —  Notation,  and  Manner  of 
Singing.  —  Roman  National  Music.  —  Pietro  Martini.  —  Eusebius.  —  The 
Lute.  —  Usonian  Song.  —  Gregorian   Chants.  —  Popular   Airs  harmonized. 

—  Pope  disgusted.  —  ^Vorthy  Authors  and  Music.  —  First  Printed  Music. 

—  Authors.  —  Martin  Luther.  —  Sternhold  and  Hopkins.  —  Confession  of 
Puritans.  —  llavenscroft's  Music,  and  Reasons  why  all  ought  to  sing.  — 
Directions  of  Westminster  Divines.  —  Music-books  destroyed. — Handel, 
Haydn,  Mozart,  &c.  —  Ancient  Church  Music  in  America.  —  Ainsworth'a 
Psalms.  —  Bay  Psalm-book.  —  Cotton's  Circular.  —  Walter's  Description  of 
Singing.  —  Singing  at  College  and  among  the  Indians.  —  First  Reformation 
in  Music.  — First  Books  of  Music.  —  Thomas  Walter.  —  Rev.  Mr.  Barnard. 
— Williams  and  Tansur.  —  James  Lyon.  — Josiah  Flagg.  —  Thomas  Bayley. 

We  arc  obliged  now  to  leave  the  volume  of  inspiration,  and 
launch  forth  into  a  wider  sea  of  uncertainty  and  chaos. 

We  shall  tiikc  a  cursory  view  of  ancient  music  ;  but,  in  tracing 
its  origin  and  progress,  it  is  well  and  truly  said  by  another,  that 
"  a  writer  in  the  attempt  finds  himself  upon  the  margin  of  a 
boundless  and  unknown  ocean,  on  which  he  fears  to  launch, 
because  he  has  for  his  guide  neither  compass,  chart,  or  polar-star. 
He  is  on  a  voyage  of  discovery  in  the  regions  of  imagination  and  of 
inferences,  and  perhaps  out  of  the  track  of  tmth  and  reality." 
When  we  leave  the  history  of  the  Bible,  fur  hundreds  of  years 
all  is  dark  on  the  subject;  and  even  the  Bible  history  gives 
nothing  definite  in  regard  to  the  kind  of  nmsic,  or  the  particular 
form  or  sound  of  instruments.  But  when  we  read  passages 
that  describe  Moses   and  Miriam  with  the  men  and  women  of 


ANCIENT   EUROPEAN   MUSi3WnD   INSTRUMENTS.  21 

larael  —  singing  and  pmising  God,  when  they  had  passed  the 
lied  Sea ;  the  song  of  Dclx)rah  and  Barak ;  the  singing  at  the 
dedication  of  Solomon's  Temple ;  of  Paul  and  Silas,  in  prison ; 
children,  when  they  sang,  "  ITosanna !  blessed  is  he  that  cometh  in 
the  name  of  the  Lord !  "  and  of  Christ  and  his  disciples,  at  their 

'  last  meeting  on  earth,  the  picture  is  vivid  before  our  eye,  and 
imagination  has  its  perfect  work ;  and  here  wc  have  to  pause  and 
admire.  Not  so  when  the  Bible  is  closed.  Volumes  on  volumes 
have  been  written,  and  some  of  them  very  plausibly,  on'  the 
changes  and  progress  of  music,  among  different  nations ;  but  when 
we  read  different  authors,  we  find  a  continual  clashing,  each 
claiming  for  their  favorite  nation  improvements  that  others  claim. 

^  To  reconcile  these  differences  would  be  not  only  unprofitable,  l^ut 
impossible.  The  thousands  and  millions  of  pages  of  music  that 
have  been  covered  with  black  heads  and  cloven  feet,  fitted  for  expert 
fingers  and  flexible  arms,  wo  have  nothing  to  do  with ;  and  wo 
rejoice  that  it  is  conceded  by  all  that  the  noblest  strains  ever 
penned  by  man  are  to  be  found  in  the  archives  of  the  Christian 
church,  —  have  outlived  their  authors,  while  the  former  have 
mostly  perished  with  the  hands  that  executed  them.  # 

From  what  we  do  know,  we  may  confidently  infer  that  in  the 
early  ages  of  Cliristianity,  when  psalmody  was  considered  an  im- 
portant and  indispensable  part  of  public  worship,  different  churches 
used  the  psalms  in  different  ways. 

1.  They  were  sung  sometimes  by  the  whole  congregation, —  men, 
women,  and  children. 

2.  In  Egyptian  monasteries,  one  person  recited  all  the  verses 
except  the  last,  when  all  joined  in  chorus. 

3.  Sometimes  one  person  chanted  the  former  part  of  the  verse, 
and  the  congregation  the  remainder. 

4.  Congregations  were  divided  into  two  parts,  and  sung,  or 
rather  chanted,  alternately,  each  verse. 

According  to  Theodoret,  the  first  singing  in  public  assemblies 
was  instituted  in  Antioch,  where  the  disciples  were  first  called 
Christians. 


22  ANCIENT  EUROPEAN  MUSIC   AND   INSTRUMENTS. 

IN   GREECE. 

The  Greeks  are  the  people  of  antiquity  whose  music  has 
attracted  the  greatest  share  of  attention  among  the  moderns.  They 
considered  music  as  an  art  of  great  dignity,  and  its  practice  formed 
an  essential  part  of  their  education.  Still,  but  little  is  known 
what  the  character  of  their  music  really  was ;  for  all  that  remains 
is  two  or  three  smdl  fragments,  expressed  by  a  notation  which 
is  but  partially  understood.  "We  only  learn  from  history  the 
extent  to  which  its  practice  was  earned,  and  its  influence  on 
society. 

We  read  that  Bruce,  the  traveller,  brought  a  pillar  to  Rome, 
supposed  to  be  erected  by  Sesostris,  centuries "  before  the  Trojan 
war,  which  has  on  it  a  representation  of  a  musical  instrument,  of 
two  strings,  with  a  neck  similar  to  a  lute. 

Another  piece  of  antiquity,  discovered  by  the  same  man,  is  the 
drawing  of  a  musical  instrument,  in  an  ancient  sepulchre  adjoining 
the  ruins  of  Thebes,  which  represents  a  man  playing  on  a  harp 
similar  in  appearance  to  those  of  the  present  day.  His  left  hand 
seems  employed  on  the  upper  part  of  the  instrument,  among  the 
Jiotes  in  alto,  and,  stooping  forward,  his  right  hand  is  employed  with 
the  lowest  strings,  which  makes  it  evident  that  harmony  was  under- 
stood and  practised  in  those  days.  Another  was  observed  at 
Ptolemals,  with  fifteen  strings,  which  he  thinks  must  have  been 
Egyptian. 

It  is  well  known  that  the  splendor  of  Egyptian  arts  and 
sciences  decayed  before  any  Grecian  author  now  extant  .had 
acquired  any  knowledge  of  the  country;  although  the  Greeks 
acknowledge  that  in  earlier  periods  they  borrowed  largely  of  the 
Egyptians,  and  that  even  in  that  remote  period  the  decay  of  Egypt 
had  begun,  and  that  there  no  longer  existed  any  instruments 
which  it  had  formerly  possessed,  till,  at  last,  under  the  dominion 
of  Alexander  the  Great,  arts  and  sciences,  and  even  its  language, 
were  evidently  Grecian. 

Ancient  Greek  music  was  evidently  composed  for  the  voice  only ; 
and  all  jx)cms,  m  the  days  of  Pindar,  were  set  to  music  composed 


ANCTENT   EUROPEAN    MUSIC    AND   INSTRUMENTS.  23 

by  the  author,  and  publicly  sung  by  the  poet,  before  publication ; 
and  when  we  have  attempted  to  apply  irregular  poetry  to  music 
of  the  present  day,  we  have  often  wished  that  it  was  the  custom 
still.  If  so,  we  think  very  many  authors  would  stumble,  in 
attempting  to  accommodate  their  irregular  words  and  lines  of 
poetry  to  music. 

THE    LYRE. 

Before  the  days  of  Pythagoras,  there  were  but  seven  notes  in 
use,  and  but  seven  strings  to  the  Greek  lyre.  He  added  the  eighth 
note,  which  completed  the  octave ;  and  Euclid  speaks  of  the  Lyre 
as  having  the  string  increased  to  eleven.  The  Spartan  Senate 
ordered  these  additional  strings  to  be  cut  off,  and  their  inventors 
to  Ixj  banished  from  the  city,  as  having  corrupted  the  ears  of  youth 
from  the  simplicity  of  the  seven-string  lyre. 

A. 

THE   FLUTE. 

Meantime,  the  flute,  or  lute,  was  the  popular  instrument  used, 
both  with  men  and  women.  A  singular  custom  was  observed  in  the 
religious  ceremony  at  Athens.  An  oflScer,  who  was  chosen  in  the 
same  manner  as,  and  whose  name  was  enrolled  with,  the  officers 
of  state,  played  upon  the  flute,  close  to  the  ear  of  the  priest,  during 
sacrifice.  This  officer  was  called  Aulotes.  The  flute-player  was 
probably  more  interested  in  the  prospect  of  a  good  dinner,  from  the 
victims  of  the  sacrifice,  than  in  the  immediate  services. 

THE   SCALE. 

The  musical  scale  of  the  Greeks  never  reached  above  two  octaves ; 
their  modes,  scales,  &c.,  were  somewhat  similar  to  those  of  the 
present  day.  It  is  generally  supposed  that  they  had  no  musical 
rhythm,  but  the  length  of  notes  and  musical  feet,  in  their  airs, 
were  regulated  by  the  quantity  of  syllables. 

NOTATION,  AND   MANNER   OF   SINGING. 

Their  systems  of  notation  were  very  complicated,  and,  of  course, 
imperfectly  understood  by  the  many.     The  letters  of  the  alphabet 


24  ANCIENT   EUROPEAN   MUSIC    AND   INSTRUMENTS. 

formed  tlie  basis,  at  one  time,  and  were  so  multiplied  by  marks  and 
mutilating  their  forms,  as  to  produce  above  one  thousand  six  hun- 
dred signs,  or  characters ;  to  learn  which  cost  the  labor  of  years. 
A  few  fragments  are  said  to  be  preserved,  in  three  different  manu- 
scripts ;  but  the  melodies  are  as  barbarous  as  those  of  the  rudest 
savages.  We  can,  perhaps,  form  no  just  idea  of  thenii^  for  there 
may  have  been  conventional  rules,  and  methods  of  performance  not 
expressed  by  notation,  of  which  we  cannot  have  any  knowledge. 

Greek  authors  tell  us  that  most  of  their  music  was  written  in 
the  diatonic  scale,  because  this  s^Decies  could  be  understood  and 
enjoyed  by  all  classes  of  people.  The  same  is  partially  true  in 
modern  days,  because  it  is  formed  out  of  those  elements  furnished 
by  nature. 

ROMAN    NATIONAL    MUSIC,  ETC. 

The  Romans  had  a  national  music,  but  borrowed  from  the 
Greeks.  At  one  time,  its  authors  carried  the  subject  to  excoas, 
and  Nero,  like  many  modern  amateurs,  was  actuated  more  by 
vanity  than  a  real  taste  or  love  for  music  itself.  His  voice  and 
performance  were  bad ;  still  he  is  said  to  have  kept  up  an  estab- 
lishment of  five  thousand  singers  and  players  on  instruments ;  and 
when  about  to  put  himself  to  death,  he  cried,  "  What  a  pity  it  is 
to  kill  so  good  a  musician !  " 

PIETRO    MARTINI. 

Pietro  Martini  was  of  opinion  that  the  chants  of  the  primitive 
Christian  church  were  as  old  as  the  time  of  King  Da\'id,  as  it  was 
evident  that  in  his  reign  music  had  a  regular  establishment  in  the 
worship  of  the  sanctuary,  and  that  they  regulated  their  tones  or 
modes  according  to  the  various  affections,  marking  the  path  which 
was  afterwards  followed  by  the  restorers  of  ecclesiastical  song, 
who  made  intervals  serve  as  fundamentals  in  the  change  of  tones ; 
and  that  the  diatonic  scale  was  then  used.    ' 

USONIAN   SONQ.  —  GREGORIAN   CHANT. 

Also  that  Usonian  son";  was  in  use  iji  the  church  in  the  second, 


ANCIENT    EUROPEAN    SIUSIC    AND    INSTRUMENTS.  ZD 

third,  foui'th,  and  fifth  centuries,  introduced  and  ordained  by 
the  apostles,  and  came  originally  from  David,  and  that  the 
Jewish  chants  were  adopted  by  them.  About  the  end  of  the 
-ixtli  century,  Pope  Gregory  improved  and  extended  the  eccle- 
siastical chant,  and  made  the  performance  wonderfully  grave 
and  noble,  arising  from  the  sim[)licity  of  the  strain,  and  totally 
unlike  the  music  used  on  lighter  occasions.  The  character  of  the 
(Jregorian  chant  is  still  used  to  give  the  greatest  efiect  to  sacred 
music. 

About  the  middle  of  the  fourth  century  regular  choirs  were 
introduced  into  some  churches,  divided  into  two  parts,  who  sung 
responsively.  This  was  called  antiphonal  singing,  out  of  which 
the  modern  fugue  has  arisen. 

NOTATION. 

The  progress  of  Musical  Notation,  from  the  time  of  Gregory  the 
Great,  may  be  explained  in  a  few  words.  Gregory's  method  was 
the  very  simple  one  of  writing  the  words,  and  then  placing  above 
each  syllable  the  letter  indicating  the  note  to  which  it  was  to  be 
sung.  Some  other  expedients  were  adopted,  of  writing  the  words 
on  parallel  lines,  placing  each  word  on  a  higher  or  lower  line,  to 
indicate  the  comparative  height  of  the  sound.  About  the  ninth 
century,  seven  parallel  lines  were  used,  expressing  the  notes  by 
jx)ints  placed  on  these  lines.  They  were  afterwards  reduced  to 
four,  and  points  placed  both  on  lines  and  spaces.  It  has  since  been 
convenient  to  use  five,  instead  of  four ;  and,  until  this  tini^,  notes 
were  used  merely  to  express  the  mr^h  sounds  of  the  chant,  the 
length  being  regulated  by  syllables ;  but,  when  harmony  was  dis- 
covered, it  became  necessary  to  mark  the  relative  length  of  notes, 
to  keep  performers  of  the  difierent  parts  together. 

Marks  for  the  length  of  notes  appear  to  have  been  invented  by 
Ouido,  and  were  first  reduced  to  a  regular  and  systematic  form  by 
Franco,  of  Cologne. 

Eusebius,  speaking  of  the  consecration  of  churches,  in  the 
lloman  empire,  in  the  time  of  Constantino,  the  first  Christian 
3 


26  ANCIENT    EUROrEAN    MUSIC    AND    INSTRUMENTS. 

emperor,  says  there  was  one  common  consent  in  chanting  forth  the 
praises  of  God.  The  performance  was  exact,  the  rites  of  the 
church  decent  and  majestic,  and  there  was  a  place  appointed  for 
those  who  smig  psalms,  —  youths,  virgins,  old  men  and  young. 

POPULAR   AIRS   HARMONIZED. POPE   DISGUSTED. 

About  the  middle  of  the  16th  century,  the  popular  airs  of  differ- 
ent countries  began  to  attract  the  attention  of  musicians  every- 
where ;  and,  like  those  of  the  present  day,  were  harmonized  for 
church  purposes ;  and  Dr.  Burney  says,  "  these  tunes  were  in 
fashion  all  over  Europe,  and  that,  although  the  names  of  some  of 
the  composers  of  the  day  are  retained,  their  music  has  sunk  into 
oblivion." 

Many  fine  compositions,  however,  for  the  church,  written  by 
Palestrini  about  this  time,  have  survived,  and  he  stands  at  the 
head  of  ecclesiastical  composers.  He  was  born  in  1529;  died  in 
1594.  Previous  to  this  time,  the  music  had  become  so  trifling 
that  the  Pope  decreed  that  it  should  be  banished  from  the  churches. 
Palestrini  entreated  him  to  suspend  his  decree  till  he  could  have 
time  to  give  an  example  of  true  church  music,  which,  being  done, 
so  pleased  his  Holiness  that  he  revoked  his  decree.  Morengo,  of 
the  same  century,  brought  forth  a  species  of  composition  called 
Madrigal  to  a  degree  of  perfection  which  has  never  been  sur- 
passed. 

Bird,  in  his  Gleanings  of  Music,  says,  in  an  old  Greek  play  is  the 
following  description  of  a  singing  school : —  "  They  went  together 
to  the  house  of  the  teacher,  where  they  learned  to  sing  hymns,  set 
to  a  simple  melody  used  by  their  ancestors.  If  any  one  of  them 
pretended  to  sing  in  a  ridiculous  manner,  or  to  make  such  flour- 
ishes as  were  allowed  in  the  airs  of  ]^hrynis,  he  was  severely 
punished." 

WORTHY    AUTHORS   AND   MUSIC. 

During  the  sixteenth  century,  music  made  rapid  strides  in 
England.    The  names  of  Tyc,  Tallis,  Bird  and  G  ibbons,  are  among 


ANCIENT    EUUOl'JiAN    MUSIC    AND    INSTKUMENTS.  'Zi 

those  of  the  fathers  of  ceclesiastieal  harmony.  One  of  the  greatest 
curiosities  extant  is  Tallis'  celebrated  song  of  forty  parts.  It  was 
sung  June  21,  1836,  by  the  Madrigal  Society,  in  Free  Masons' 
Hall,  London,  by  about  one  hundred  and  twenty  singers  without 
instruments,  and  was  doubtless  the  only  performance  of  this 
grand  song  within  the  memory  of  any  living  musician. 

MUSIC    IN    PROTESTANT   CHURCHES. 

In  the  course  of  this  sixteenth  century,  the  psalmody  of  the 
Protestant  church  was  brought  nearly  to  the  state  or  character  in 
which  it  is  now  found,  and  in  which  it  is  desirable  it  should  con- 
tinue. For  this  style  of  psalmody  we  are  indebted  to  the  refonu- 
ers  of  Germany,  especially  Luther,  who  was  himself  an  enthusiastic 
lover  of  music.  Dr.  Sears  says,  in  his  history  of  Luther,  that  he 
was  early  known  as  a  melodious  singer  ;  and  it  was  in  this  capacity 
that  he  had  won  the  kind  regards  of  Madame  Cotta,  his  first 
patroness.  His  last  evening  before  entering  the  cloister  was 
devoted  to  musical  and  social  pleasure.  When  the  work  of 
the  lleformation  was  progressing,  he  called  in  the  aid  of  sacred 
music.  At  that  period  there  were  many  hymns,  but  no  psalms ; 
but  Luther  versified  a  few  psalms,  which  he  appended  to  a  col- 
lection of  hymns  he  published  in  1524;  all  of  which  were  set 
to  music,  as  he  says,  "  in  four  parts,  for  no  other  reason  than 
because  of  my  desire  that  the  young,  who  ought  to  be  educated  in 
music,  as  well  as  in  other  good  arts,  might  have  something  to  take 
the  place  of  worldly  and  amorous  songs,  and  so  learning  something 
useful,  and  practise  something  virtuous,  as  becometh  the  young. 
I  would  be  glad  to  see  all  arts,  and  especially  music,  employed  in 
the  service  of  Him  who  created  them."  This  book,  which  is  so 
great  a  curiosity,  was  reprinted  in  1840,  and  was  used  in  fam- 
ilies, social  circles  and  schools,  as  well  as  in  churches ;  and  the 
hymns  of  Luther,  which  the  people  sung  with  delight,  had  a 
j.x)wcrful  effect. 

Luther  himself  composed  music  for  many  of  his  hymns,  which 
was  not  only  good  in  itself,  but  agreed  beautifully  with  the  scnti- 


28  ANCIENT   EUROPEAN   MUSIC    AND    INSTRUMENTS. 

ment  expressed  by  the  words.  Walther^  a  celebrated  musician  of 
that  day,  lent  his  assistance,  and  says,  "  I  have  spent  many  an 
happy  hour  in  singing  with  him,  and  have  often  seen  the  dear  man 
so  happy  and  joyful  in  spirit  while  singing,  that  he  could  neither 
tire  nor  be  satisfied.  He  conversed  splendidly  upon  music.  He  also 
composed  music  or  tunes  for  the  epistles  and  gospels,  particularly 
for  the  words  of  Christ  at  the  institution  of  the  Supper,  and  sung 
them  to  me  and  asked  my  opinion  of  them.  Kept  me  three  weeks 
writing  the  notes  for  a  few  gospels  and  epistles,  till  the  first  Ger- 
man mass  was  sung  in  the  parish  church,  and  was  obliged  to  stay 
and  hear  it,  and  take  a  copy  of  it  to  Torgua."  He  is  believed  to 
have  composed  some  of  the  noblest  tunes,  such  as  the  One  Hun- 
dredth Psalm,  Last  Judgment,  &c.,  admirably  adapted  to  be  sung 
by  great  congregations,  making  an  impression  produced  by  few,  if 
any,  of  modern  compositions. 

MUSICAL   DRAMAS SACRED    SUBJECTS. 

The  beginning  of  the  seventeenth  century  was  the  era  and 
origin  of  musical  drama  in  Italy.  Poetry  and  music  were  united 
for  the  purpose  of  dramatic  representation,  including  sacred  dramas 
and  oratorios. 

These  representations  of  incidents,  many  of  them  taken  from 
scripture,  were  introduced  at  religious  festivals,  to  impress  on  the 
minds  of  the  rude  and  ignorant  the  principal  characters  and  events 
of  that  sacred  volume  of  history  :  such  as  the  "  Messiah,"  "  Sam- 
son," and  "  Israel  in  Egypt,"  by  Handel ;  the  "  Creation,"  by 
Haydn ;  "  Mount  of  Olives,"  by  Beethoven,  and  the  "  Last  Judg- 
ment," by  Sphcr,  were  first  used  as  sacred  dramas  for  the  theatre. 

There  were  sacred  dramas  represented  in  Italy  at  a  much  ear- 
lier period,  on  the  subject  of  Abraham  and  Isaac. 

FIRST    PRINTED    MUSIC,   AUTHORS,  ETC. 

The  first  printed  music  was  in  1503,  when  music  was  first  intro- 
duced, in  four  parts,  in  the  fourth  century.    The  lowest  was  called 


ANCIENT    EUROPEAN    MUSIC    AND    INSTRUMENTS.  29 

Tenor;    second,    Contra    Tenor;   third,    Motetus ;    fourth  and 
higliest,  Triplum. 

At  one  period,  six  parts  are  found,  namely,  Bass,  Baritone, 
Tenor,  Contralto,  Mezzo  and  Soprano. 

STERNIIOLD    AND    HOPKINS. 

In  1562  Sternhold  and  Hopkins  published  the  hymns  that  were 
then  extant,  with  notes  to  sing  them,  but  with  only  one  part,  — 
the  air.  The  only  tune  now  in  ase  which  they  published  is  "  Old 
Hundred,"  with  little  variation,  as  will  be  seen  by  the  following 
example ;  and  the  last  note  was  probably  a  misprint,  as  in  subse- 
quent editions  the  air  is  written  as  we  now  sing  it. 


g^— t^— r-^^g=  J-^^^ 


-=^^=^- 


J 1 1 — t— ^ — ^ 1 1 — ^ — ^^ 


Aftei-wards  we  find,  in  1606,  the  following  :  "That  the  whole 
book  of  Psalms,  with  English  metre,  with  apt  notes  to  sing  them, 
withal,  were  published  by  them.  Set  forth  and  allowed  to  be 
sung  in  all  churches,  of  all  the  people  together,  before  and  after 
morning  and  evening  praier,  as  also  before  and  after  sermons ; 
and,  moreover,  in  private  houses  for  their  godly  solace  and  com- 
fort, laying  apart  all  ungodly  songs  and  ballads,  which  tende  only 
to  the  nourishing  of  vice  and  corrupting  of  youth." 

The  names  of  Sternhold  and  Hopkins  will  be  read  and  known  in 
all  future  time.  It  appears,  until  the  rupture  between  Henry  and 
the  Pope,  the  only  nmsic  in  the  English  churches  consisted  of  the 
Latin  masses  and  services  of  the  Bomish  ritual.  After  this  event, 
they  were  translated  and  modified,  and  still  used,  in  some  instances, 
in  the  Episcopal  churches.  Sternhold  was  a  zealous  Beformer,  and 
was  scandalized  in  observing  songs  used  in  court,  for  being  so  fool- 
ish as  to  turn  into  English  metre  fifty-one  psiilms  of  David,  and 
causing  musical  notes  to  be  placed  thereto.     These  were  published 


30  ANCIENT   EUROPEAN    MUSIC   AND   INSTRUMENTS. 

in  1582,  eitlier  separate  or  bound  with  the  psalm-book ;  some  in 
the  end  of  the  Bible. 

To  the  reader  he  says,  "  I  have  caused  a  new  print  of  notes  to 
be  made,  with  letters,  to  be  joyned  to  every  note,  whereby  thou 
maiest  know  to  call  every  note  by  its  right  name,"  &c.     The  fol- 
lowing is  an  example. 
*V,      R,      M,      F,      S,       L,      L,       S,       F,      M,      R,      V, 


-ffi — s^ 


Vt,     Re,    My,     Fa,     Sol,     La,     La,     Sol,     Fa,     My,    Re,     Vt. 

WILLIAM    DAMON. 

William  Damon  set  the  psalms  to  four  parts.  No  more  than 
forty  tunes  had  been  published  in  any  one  book  before  1594. 

CONFESSION   OF   PURITANS. 

In  the  Confession  of  the  Puritans,  1571,  we  find  the  following 
concerning  the  singing  of  psalms,  —  "  We  allow  the  people  to  join 
in  one  voice  in  a  psalm-tune,  but  not  in  tossing  the  psalm  from  one 
side  to  the  other,  with  intermingling  of  organs." 

No  music  in  parts,  and  no  instruments,  were  used  in  Geneva  in 
their  religious  services,  for  more  than  a  century  after  the  Re- 
formation. 

In  the  reign  of  Henry  VIII.,  the  common  prayer  and  singing 
psalms,  as  they  are  found  in  tlje  Bible,  was  used  as  a  test  for  all 
to  sing  who  loved  the  Reformation. 

RAVENSCROFT'S   MUSIC,    AND   REASONS   WHY   ALL   OUGHT   TO   SING. 

Ravcnscrofl  published  a  choice  collection  of  tunes,  better  than 
any  published,  —  bettor  than  any  that  succeeded  for  a  hundred 
and  fifty  years,  and  many  of  our  best  tunes  now  in  use  were  taken 
from  this  book,  written  by  English,  Scotch,  Welsh  &c.  Bird, 
from  1563  to  1610,  wrote  music  of  every  description,  much  of  it 
sacred  and  of  the  best  character,  cc^ual,  it  is  said,  to  Palestrini's. 

*  V  used  for  U. 


• 


ANCIENT   EUROPEAN    MUSIC   AND    INSTRUMENTS.  31 

This  first  work  was  dedicated  to  the  Lord  Chancellor  of  England,  in 
which  he  gives  his  reasons  why  every  one  ought  to  learn  to  sing,  the 
substance  of  which  we  give  below,  spelled  in  the  manner  of  the  day. 

1.  It  is  a  knowledge  easilic  taught,  and  quicklie  learned. 

2.  An  exercise  delightfulle  to  nature. 

3.  It  dothe  strengthene  all  partes  of  ye  brcaste,  and  dothe  open 
ye  pipes. 

4.  Good  remcdic  for  stuttcringe. 

5.  Best  means  to  make  a  good  orator. 

6.  It  is  the  onlie  waye  to  knowe  where  nature  hath  bestowed 
the  bencfytte  of  a  good  voyce. 

7.  There  is  not  anie  musicke  of  instruments,  comparable  to  yt 
whiche  is  made  by  the  voyce. 

8.  The  better  ye  voyce  is,  the  mooter  it  is  to  honor  and  servo 
God  therewith. 

Since  singynge  is  soe  goode  a  thinge, 
I  wish  alle  men  woulde  learne  to  singe. 

DIRECTIONS    OF    WESTMINSTER    DIVINES. 

The  Westminster  Assembly  of  Divines,  besides  making  the 
catechism,  presented  rules  concerning  singing,  saying,  "It  is  the 
duty  of  Christians  to  praise  God  publicly,  by  singing  psalms 
together  in  congregations  and  in  families.  That  it  ought  to  be  the 
chief  care  to  sing  with  the  understanding  and  grace  in  tlie  heart, 
and  that  the  whole  congregation  join,  and  as  many  cannot  read, 
advise  the  minister  to  appoint  some  fit  person  to  read  the  psalm 
line  by  line,  before  the  singing  thereof." 

MUSIC-BOOKS    DESTROYED. 

Soon  after  this  rule  for  congregational  singing  was  put  in  force, 
all  the  choral  books  were  taken  from  the  clmrchcs  and  destroyed ; 
churches  defaced,  organs  taken  down,  and  most  of  them,  as  well  as 
the  books,  were  burnt ;  so  that  when  things  were  returned  to  their 
former  state,  it  was  almost  impossible  to  procure  notes,  organs, 
organists  or  singers. 


32  ANCIENT   CnURCn   MUSIC   IN   AMERICA. 

HANDEL,    IIAYDN,  MOZART,  ETC. 

We  have  spoken  of  a  period  of  time  when  a  few  individuals  of 
different  nations,  that  seemed  to  have  been  raised  up  by  God  with 
talents  natural  and  acquired,  to  show  the  world  the  design  and 
power  of  sacred  music,  such  as  Handel,  Haydn,  Mozart,  Beethoven, 
and  others.  These  men  have  supplied  the  world  with  an  inex- 
haustible fountain  of  musical  manna  ;  many  have  feasted  on  it. 
But,  alas  I  some  are  content  only  to  hear  about  it,  if  not  to  loathe 
it;  while  others  are  too  ignorant  of  its  sweets  to  taste  it.  In  1712, 
Br.  William  Crofts  published  a  book,  called  Divine  Harmony ; 
and  in  1724,  by  subscription,  a  splendid  edition  of  music,  in  two 
volumes,  called  Musica  Sacra,  the  notes  stamped  on  pewter  plates. 
This  book  of  music  was  republished  in  this  country  about  1809. 

ANCIENT    CUURCH    MUSIC    IN    AMERICA. 

We  are  necessarily  compelled  to  leave  foreign  lands,  and  confine 
our  observations  to  our  own  country,  where  it  will  be  found  that 
but  little  attention  was  paid  to  the  subject  for  more  than  a  hundred 
years  after  the  landing  of  our  Pilgrim  Fathers.  Here  let  us  pause 
for  a  moment,  and  imagine  ourselves  spectators  of  the  scene  when 
our  forefathers  mounted  the  Plymouth  Rock,  and  listening  to  the 
first  song  of  praise  to  Almighty  God  proceeding  from  strong  lungs 
and  pure  hearts.  There  they  stood,  and,  with  the  women  and 
children,  burst  forth,  and  with  united  voices  rehearsed  some  tunc 
and  words,  that  they  perhaps  had  before  prepared  and  had  been 
anxiously  waiting  and  longing  for  an  appropriate  time  to  sing  ;  — 
that  time  had  come ;  and  think  you  there  would  not  have  been  a 
difierence  between  the  efiect  of  their  singing  and  that  which  we  so 
often  hear,  "  whore  not  the  heart  is  found  "  ? 

AINSWORTII'S    PSALMS. 

It  appears  that  Ains worth's  version  of  the  Psalms  was  brought 
by  them  to  this  country,  and  used  exclusively  till  1040,  and  many 
of  the  psalms  and  tunes  were  so  associated  with  their  worship  that 
they  were  unwilling  to  relinquish  either ;  so  that,  when  the  "  Bay 


ANCIENT  CHURCH   MUSIO   IN   AMERICA.  33 

Psalm-book,"  so  called,  was  introduced  in  New  England,  it  met 
with  violent  opposition ;  and  the  churches  in  Salem  and  vicinity 
did  not  relinquish  Ainsworth  till  1667,  nor  the  church  in 
Plymouth,  where  it  was  first  used,  until  1692. 

BAY     PSALM-BOOK. PREJUDICES   AND    SCRUPLES. 

The  "  Bay  Psalm-book,"  which  was  compiled  by  an  association 
of  New  England  ministers,  and  approved  by  the  churches,  being 
something  new,  was  considered  an  innovation,  and  naturally 
awakened  strong  feelings  of  doubt  and  opposition,  and  much  inquiry, 
producing  the  same  prejudices  and  religious  scruples  as  innovations 
in  later  days.  Among  other  scruples  of  conscience^  as  they  are 
generally  called,  to  which  a  different  word  would  better  apply, 
was  this :  whether  the  singing  of  the  psalms  of  David  with  a 
lively  voice  was  proper  in  these  New  Testament  days.  This  and 
other  quibbles  set  the  churches  into  a  turmoil,  which  did  not  sub- 
side until  the  llev.  John  Cotton  wrote  a  tract,  or  circular,  in 
answer  to  the  objections,  which  was  sent  to  all  the  churches. 

cotton's   CIRCULAR. OBJECTIONS   ANSWERED. 

"When  this  was  read  and  feelings  reconciled,  other  objections  and 
queries  arose,  namely,  Whether  it  was  proper  for  one  to  sing,  and  all 
the  rest  to  join  only  in  spirit,  and  saying  Amen,  or  for  the  whole 
congregation  to  sing.  A\1iether  women  as  well  as  men,  or  men  alone, 
should  sing.  Whether  pagans  (the  unconverted)  be  permitted  to 
sing  with  us,  or  church-members  alone.  Also,  whether  it  be  law- 
ful to  sing  psalms  in  metre  devised  by  man,  and  whether  it  be 
lawful  to  read  the  psalm  to  be  sung,  and  whether  proper  to  learn 
new  tunes  which  were  uninspired ;  for  it  appears  that  they  had  so 
long  been  accustomed  to  hear  and  sing  the  same  few  tunes,  that 
they  had  imbibed  the  idea  that  the  tunes  were  inspired,  and  that 
man's  melody  was  only  a  vain  show  of  art. 

Some  of  the  objections  were  not  without  reason ;  for  instance, 
as,  for  several  years  after  the  introduction  of  the  new  psalm-book, 
many  neglected  or  refused  to  purchase  it,  and  others  were  unable 


34  ANCIENT  CHURCH   MUSIC   IN   AMERICA. 

to  read,  they  were  obliged  to  revive  the  practice  of  Luther,  of 
reading  or  lining  the  hymn.  This  many  objected  to,  as  hindering 
the  melody,  understanding  and  afifection,  in  singing.  All  these 
objections  were  considered,  and  wisely  answered,  by  the  learned 
divines  of  the  day,  and  the  disturbed  feelings  gradually  calmed. 

Previous  to  the  year  1690,  music  or  the  psalm  tunes,some  eight  or 
ten  in  number,  taken  mostly  from  Ravenscroft's  collection,  were 
in  some  form  usually  written  in  the  psalm-books  or  Bible,  and  were 
in  that  way  used  for  nearly  one  hundred  years,  the  collection  hav- 
ing been  published  two  years  before  they  left  England.  These 
few  tunes  were  repeated,  some  of  them  once  or  twice  every  Sab- 
bath ;  and  in  pious  families  two  were  sung  every  day  in  the  week, 
so  that  it  seems  singing  at  family  worship  was  practised  by  our 
fathers.  The  psalms  were  sung  in  rotation,  without  any  regard  to 
the  subject  of  the  preacher. 

Notwithstanding  the  apparent  neglect  of  this  important  part  of 
public  worship,  it  is  evident  that  the  well-informed  appreciated  tho 
subject,  and  actually  made  provision  for  the  cultivation  of  music  in 
the  first  college  at  Cambridge.  But  soon  troubles  came  upon  the 
country,  like  the  plagues  of  Egypt ;  and,  whether  real  or  imagin- 
ary, it  was  all  the  same ;  for,  where  the  feelings  are  in  commotion, 
music  has  no  place.  About  this  time,  Williams  the  Baptist,  Ann 
Hutchinson,  the  Quakers  and  Antinomians,  ran  athwart  their 
religious  views;  besides  numerous  Indian  wars  and  witchcraft 
perplexed  them  on  every  side. 

Walter's  description  of  singinc. 
About  the  commencement  of  the  eighteenth  century,  music  had 
been  so  much  neglected  that  few  congregations  could  sing  more 
than  four  or  five  tunes,  and  these  few  the  learned  divine.  Rev.  Mr. 
Walter,  of  Roxbury  says,  "  had  become  so  mutilated,  tortured  and 
twisted,  that  the  psalm-singing  had  become  a  mere  disorderly  noise, 
left  to  the  mercy  of  every  unskilful  throat  to  chop  and  alter, 
twist  and  change,  according  to  their  odd  fancy,  —  sounding  like 
five  hundred  different  tunes  roared  out  at  the  same  time,  and  so 


ANCIENT   CnURCn    MUSIC    IN    AMEllKA.  35 

little  in  time  that  they  were  often  one  or  two  words  apart ;  so 
hideous  as  to  be  bad  beyond  expression,  and  so  drawling  that  bo 
sometimes  had  to  pause  twice  on  one  word,  to  take  breath ;  and 
the  decline  had  been  so  gradual  that  the  very  confusion  and  dis- 
cord seemed  to  have  become  grateful  to  their  ears,  while  melody, 
sung  in  time  and  tune,  was  oflfensive ;  and  when  it  was  heard  that 
tunes  were  sung  by  note,  they  argued  that  the  new  way,  as  it  was 
called,  was  an  unknown  tongue,  not  melodious  as  the  old,  made' 
disturbance  in  churches,  was  needless,  a  contrivance  of  the  design- 
ing to  get  money,  rerjuired  too  much  time,  and  made  the  young 
disorderly ;  old  way  good  enough."  All  these  objections,  and  many 
more,  were  answered  by  a  pamphlet,  signed  by  Rev.  Peter 
Thatcher,  John  Danforth,  and  Samuel  Dan  forth,  which  quelled 
the  subject,  but  not  before  many  members  of  churches  were  sus- 
pended for  persisting  in  singing  by  rule,  but  were  afterwards 
restored.  Many  congregations  were  ordered  to  sing  by  rote  and 
by  rule,  alternately,  on  the  Sabbath,  to  satisfy  both  parties. 

SINGING    AT    COLLEGE    AND    AMONG    TUE    INDIANS. 

Rev.  Mr.  Symms  says  that  "  music  was  known  and  approved  of 
in  our  college,  from  the  foundation  of  it ;  and  though  in  later  time 
it  has  been  unhappily  neglected,  yet,  blessed  l^e  God,  it  is  again 
reviving,  and  I  hope  it  may  ever  be  continued  in  that  school  of 
the  prophets." 

However  irregular  and  uncultivated  the  singing  was  in  congre- 
gations generally,  it  is  evident  that  the  Indian  apostle,  Eliot, 
taught  the  natives  to  sing  psalms  regularly ;  for  Dr.  Mather  says 
their  singing  was  most  ravishing. 

FIRST    REFORMATION    OF    MUSIC. 

The  reform  began  in  the  churches,  according  to  Hood,  at  Cam- 
bridge, Taunton,  Bridgewater,  Charlestown,  Ipswich,  Newbury, 
Andover,  and  Bradford.  These  churches,  having  godly  and 
efficient  ministers,  did  much  to  advocate  and  advance  the  cause 


36  ANCIENT   CHURCH   MUSIC   IN   AMERICA. 

generally,  and  to  encourage  the  revival  of  music  at  Cambridge 
College. 

Previous  to  this  time,  when  it  was  made  known  that  some  had 
acquired  the  art  of  learning  a  tune  by  note,  without  having  before 
heard  it,  all  were  amazed,  and  still  more  astonishal  that  all  could 
finish  a  tune  together. 

A  writer  in  the  New  England  Chronicle  observes,  in  17*23 : 
"  Truly  I  have  a  great  jealousy  that,  if  we  once  begin  to  sing  by 
note,  the  next  thing  will  be  to  pray  by  rule,  and  preach  by  rule ; 
and  then  comes  popery." 

The  tunes,  before  1G90,  were  such  as  Oxford,  Litchfield,  York, 
Windsor,  St.  David's,  and  Martyrs,  —  more  of  common  metre  than 
all  others ;  therefore,  to  accommodate  churches  who  could  not  sing 
any  long-metre  tunes,  some  two  words,  in  the  second  and  fourth 
line  of  a  verse,  were  printed  in  diflferent  type,  to  indicate  that  they 
might  be  omitted,  and  the  sense  retained,  so  as  to  sing  the  hymn 
in  a  common-metre  tune,  thus  : 

"  To  God  our  voices  let  us  raise, 
And  [loudly'^  chant  the  joyful  strain." 

Directions  were  given,  with  these  tunes,  in  regard  to  pitching 
them.  Some  were  directed  to  have  a  high  pitch  given  them,  as 
the  compass  of  the  notes  was  but  five  or  six  above,  such  as  York. 
Others,  where  the  compass  was  eight  or  nine  notes,  were  to  have 
a  low  pitch. 

FIRST    BOOKS    OF    MUSIC. 

About  1712  or  1714,  Rev.  John  Tufts,  of  Newbury,  published 
a  book  of  tunes,  twenty-eight  in  number,  with  rules,  as  he  said,  so 
that  the  tunes  might  be  learned  with  the  greatest  ease  and  speed 
imaginable  ;  price  six  pence,  or  five  shillings  per  dozen.  Small  as 
it  was,  it  must  have  been  at  the  time  a  great  convenience  and 
curiosity,  being  the  first  of  the  kind  in  New  England,  if  not  in 
America.  As  late  as  1770,  there  were  not  more  than  four  or  five 
books  known.  The  number  of  tunes  in  this  book  was  considered 
enormous,  which  were  in  three  parts,  reprinted  from  Ravcnscroft, 


ANCIENT   CHURCH    MUSIC   IN    AMERICA.  37 

—  purely  choral.  Tliis  publication  was  considered  by  many  as  a 
daring  innovation  on  the  old  time-honored  custom  of  the  country. 
"  Teaching  l)y  note,"  says  a  writer,  "  was  strenuously  opposed  by  a 
large  class  of  persons,  everywhere  to  be  found,  who  believe  that  an 
old  error  is  better  than  a  new  truth."  They  imagined  that /a  sol 
la  was  real  popery  in  disguise.  The  pages  were  neatly  engraved, 
and  in  size  to  bind  with  the  Bay  Psalm-book.  His  easy  method 
was  placing  letters  on  five  lines,  as  follows : 


OLD    HUNDRED, 


the  letter  indicating  the  name  of  the  note,  namely,  F  for /a,  S  for 
sol^  &c. 

Where  a  lette#  had  two  dots  after  it  (F:),  it  was  equal  to  a 
breve;  with  one  (F.),  to  a  semibreve;  (F),  plain,  to  a  minim,  or 
half-note. 

THOMAS    WALTER. 

llev.  Thomas  AV'alter,  of  Roxbury,  Mass.,  in  1721  edited  the 
first  book  of  music,  except  the  few  tunes  attached  to  the  Bay 
Psalm-book,  with  the  art  of  singing  by  note,  with  bars  to  divide 
the  notes  or  measures,  for  the  first  time.  Printed  by  Benjamin 
Macom,  and  recommended  by  fourteen  divines.  Until  this  time, 
the  singing  of  the  psalms  was  used  only  as  a  devotional  act ;  never 
for  amusement. 

REV.  MR.  BARNARD. 

The  Rev.  Mr.  Barnard,  of  Marblehead,  published  the  psalms 
and  hymns,  in  verse,  with  fifty  tunes  at  the  end  of  the  book ; 
the  music  beautifully  engraved ;  containing  such  tunes  as  Mear, 
Windsor,  &c.,  in  three  parts,  with  one  page  of  instructions.  But 
Ilood  says  we  cannot  find  any  account  of  its  being  used  out  of 
his  own  church. 

WILLIAMS    AND    TANSUR. 

A  collection  of  music,  called  the  "  Royal  Harmony,"  or  the 
"  New  Harmony  of  Zion,"  first  published  in  England,  containing 
4 


38  ANCIENT  CHURCH   MUSIC   IN    AMERICA. 

h\TJ3ns,  anthems,  and  canons,  by  the  greatest  masters,  with  from 
two  to  seven  parts,  by  William  Tansur,  in  1754,  was  re-published 
at  Newburyport,  Mass.,  in  1750. 

Another  collection,  similar  to  Tansur's,  by  T.  \yilliams,  of  Lon- 
don, was  republished  by  Bailey,  in  Newburyport,  17G9. 

The  books  of  Williams  and  Tansur  (for  they  were  calculated  to 
be  l30und  together)  were  designed  to  bring  singers  together,  and 
did  create  an  interest  never  before  felt  in  this  country ;  and  many 
of  the  books  may  be  found  bound  in  this  way,  and  kept  by  some 
careful  fathers  to  the  present  day.  Williams'  book  contained  the 
fii-st  fugueing  tunes  seen  in  this  country,  such  as  thirty-fourth 
psalm,  &c.,  which  were  the  parents  and  forerunners  of  all  subsequent 
music  of  that  character. 

JAMES    LYON. 

James  Lyon,  of  Philadelphia,  in  17G1,  publilihed  a  choice  col- 
lection of  psalm-tunes,  hj-mns,  and  anthems,  in  two,  three,  and 
four  parts,  called  "  Urania."  One-half  the  tunes  plain  choral 
music,  the  remainder  of  a  light  and  fugueing  character. 

JOSIAH   FLAGQ. 

Josiah  Flagg,  of  Boston,  in  1764  published  a  collection  of 
church  music,  engraved  by  Paul  llevere,  containing  a  hundred  and 
sixteen  tunes,  generally  of  rather  a  light  character.  In  his  intro- 
duction, he  apologizes  to  the  public  for  introducing  a  new  book, 
there  having  been  two  or  three  within  the  last  fifty  years.  Very 
unlike  the  present  day,  when  not  less  than  twenty  are  published 
every  year.  The  author  exults  in  the  one  fact,  that  they  were 
not  beholden  to  England  for  the  paper  of  his  book,  if  they  were 
for  the  nmsic,  this  paper  being  the  first  made  in  this  country  for 
such  a  purpose. 

THOMAS    BAYLEYS. 

Thomas  Baylcys,  of  Newburyport,  in  17G4  published  two  books, 
one  containing  the  grounds  of  nmsic,  taken  from  Thomas  Walter's 
collection  ;  thtj  other,  tunes,  &c.,  from  the  most  approved  authors, 
containing  thirty-four  tunes,  neatly  engraved. 


CHAPTER   II. 

AMERICAN  PS.iLMODY  FROM  1770. 

Change  of  Music.  —  Its  Effects.  —  Prejudices  against  English  Tunes.  —  State 
of  Society.  —  Origin  of  Fugueing  Music.  —  Billings  a  Pioneer.  —  Political 
Effect  of  Music.  —  Billings'  Concert  and  Exhibitions.  —  Billings'  Voice,  Per- 
sonal Appearance,  and  Habits.  —  Of  Lining  the  Hymn.  —  Billings'  Musical 
Publications.  —  American  Authors.  —  Musical  Notes  and  Characters.  —  Of 
English  Methods  of  Teaching.  —  Miss  Glover.  —  Pierre  Galen.  —  Day  and 
Beals. 

CHANGE   OF   MUSIC   IN    AMERICA. 

"We  now  leave  the  traditional  history  of  church  music,  and 
enter  a  field  where,  for  the  last  fifty  yeai-s  or  more,  we  are  enabled, 
from  experience,  observation  and  information,  to  vouch  for  the 
facts  we  relate.  For  a  period  of  twenty  or  thirty  years  previous 
to  that,  we  have  reliable  accounts  from  the  lips  of  those  who, 
during  that  time,  took  an  active  part  in  singing.  For  this  epoch, 
we  design  to  give  a  more  particular  history  of  church  music  in 
America. 

Hood  and  Bird  have  each  written  and  published  valuable 
volumes  relating  to  the  rise  and  progress  of  music,  both  in  this 
and  foreign  countries,  to  the  period  when  this  chapter  com- 
mences, and  have  there  suspended  their  investigations ;  so  that, 
unless  the  circumstances  relating  to  church  music,  for  this  latter 
period,  are  soon  recorded  by  some  one  now  living,  it  is  evident  that 
all  must  soon  become  hearsay.  Among  all  American  histories  of 
men  and  things,  there  has  never  been  any  connected  account  given 
of  church  music  for  the  last  half-century. 

A  year  or  two  previous  to  this  date,  music  had  begun  to  as.sume 
a  difiercnt  aspect,  both  as  to  its  character  and  performance,  in  and 
out  of  the  church ;  and  the  way  seemed  at  hand  for  a  still  greater 
change ;  and  as  the  style  of  music  and  the  teaching  of  it  have 


40  AMERICAN   PSALMODY    FROM    1770. 

generally  emanated,  in  this  country,  from  New  England,  we  ven- 
ture to  say  that  a  picture  of  psalm-singing,  with  all  its  attendant 
customs,  as  practised  in  Boston  and  vicinity,  at  that  time,  will, 
as  almanac-makers  say,  be  fitted  for  any  meridian  of  New  Eng- 
land, without  any  material  alteration,  and  will  apply  to  about 
every  church  and  congi-egation,  at  some  period  since.  In  some  of 
them,  indeed,  even  at  the  present  time,  the  same  customs,  music, 
and  manner  of  singing,  are  in  use,  that  generally  prevailed  fifty 
yeare  ago. 

We  have  said  that  religion  and  sacred  music  ever  go  hand  in 
hand.  The  pure  spirit  of  active  piety  prompts  to  a  desire  to  sing 
Grod's  praise.  Who  has  not  seen  those  who  had  never  before 
attempted  to  sing  a  tune  ccjpstrained  to  give  vent  to  their  feel- 
ings, after  conversion,  by  attempting  to  sing,  and  sometimes  to  the 
annoyance  of  those  around  them,  by  their  discordant  notes  ?  Conse- 
quentl}^  when  the  public  mind  is  agitated  by  worldly  subjects,  — 
for  instance,  in  the  excitement  of  a  political  campaign,  —  a  differ- 
ent kind  of  music  is  made  use  of,  to  add  to  the  power  of  oratory. 
Political  songs  and  instrumental  music  are  the  aids,  and  claim  a 
full  share  among  the  instrumentalities  for  keeping  alive  political 
frenzy. 

There  are  times  and  situations  in  which  music  cannot  find  a 
lodging-place.  The  children  of  Israel,  when  carried  into  captivity, 
hung  their  harps  on  the  willows,  and  even  refused  to  sing  the  Lord's 
song  in  a  strange  land.  And  when  we  consider  the  perplexities 
which  we  have  mentioned,  that  rushed  uJ>on  our  Puritan  fathers, 
in  swift  succession,  year  after  year,  it  is  not  strange  that  sacred 
music  should  have  been  neglected.  .There  were  no  circumstances, 
even  in  the  lives  of  many  generations,  calculated  to  enkindle  a 
spirit  for  any  kind  of  music,  either  sacred  or  secular ;  —  they  were 
truly  in  a  strange  land  ;  but  at  their  places  of  worship  they  sang 
the  choral  tunes  they  brought  with  them,  heart  and  soul. 

For  nearly  a  Imndrcd  and  fifty  years  from  the  landing  of  the 
Pilgrims  at  Plymoutli,  much  the  same  tunes,  with  very  few 
additions,  were  evidently  used ;   and  the  additions  did  not  keep 


AMERICAN    PSALMODY    FROM    1770.  41 

pace  with  the  number  that  were  mutilated,  murdered,  frittered 
away,  and  lost. 

PREJUDICE   AGAINST   ENGLISU    TUNES. 

A  few  years  previous  to  this  time,  three  or  four  tunes  had  been 
written  and  introduced,  from  England.  The  air  and  movement 
of  the  tunes  were  exactly  suited  to  the  excited  feelings  of  the  peo- 
ple. Americans  began  to  think  and  act  for  themselves;- and  the 
more  the  British  government  attempted  to  oppress,  so  much  the 
more  were  they  determined  to  free  themselves  from  the  yoke  of 
bondage,  that  -was felt,  whether  true  or  imaginary;  and  their  feel- 
ings became  so  bitter  against  everything  manufactured  in  the  mother 
country,  that  even  the  tunes  they  had  formerly  sung  began  to  sound 
tyrannical,  and,  consequently,  with  the  Tea,  were  thrown  over- 
board. Tlie  few  tunes  that  were  brought  from  England,  and  for 
more  than  a  hundred  .years  known  as  foreign  manufacture,  owing 
to  their  slow  movement,  but  more  especially  for  the  drawling  and 
dragging  manner  of  singing  them,  became  truly  obnoxious. 

Until  about  the  year  1770,  no  native  American  had  atten^ted 
to  compose  and  puVjlish  a  single  tune,  that  we  can  ascertain.  This 
distinction  was  reserved  for  William  Billings,  a  jx>or  boy,  by  occu- 
pation a  tanner;  born  in  Boston,  October  7,  1747 ;  died  Septem- 
ber 26,  1800. 

The  tunes  afore-mentioned  were  lively  and  s{)irited  airs,  calcu- 
lated to  excite  the  feelings,  whether  for  good  or  evil,  and  gave 
Billings  a  cue  to  his  style  of  music.  Previous  to  this  time,  church 
music,  if  it  could  be  called  music,  was  learned  by  rote,  and  per- 
formed as  a  sacred  employment,  or  from  duty ;  but  from  this  time 
onward,  for  thirty  or  forty  years,  we  have  reason  to  fear  that  muck 
of  the  spirit  of  amusement  was  mixed  with  it,  and  its  former 
solemnity  lost. 

STATE    OF    SOCIETY. 

Therefore  it  is  not  strange,  when  we  consider  the  state  of  public 
feeling,  that  they  should  gladly  accept  and  embrace  the  change  of 
4% 


42  AMERICAN    PSALMODY   FROM   1770. 

music.  The  first  few  tunes  that  were  selected  —  such  as  third 
and  thirtj'-fourth  psalm,  Milford,  &c.  —  electrified  the  whole  com- 
munity ;  —  their  noise  and  jingle  exactly  fitted  their  excitement. 

ORIGIN    OF    FUGUEING    MUSIC. 

Foreigners  have  always  been  ready  to  palm  fugueing  tunes  on 
America,  and  it  has  always  had  the  appellation  of  "Yankee 
music;"  but  this  species  of  music  originated  and  spread  through 
England,  and  was  adopted  in  many  of  the  Protestant  churches,  long 
before  it  was  seen  or  heard  of  in  this  country.  Billings  —  an 
Americiin,  it  is  true  —  was  the  first  and  foremost  in  introducing 
this  new  style  of  music  into  the  churches  in  this  country,  and 
added  to  the  number  of  such  like  tunes.  The  style  and  construc- 
tion of  the  tunes  maj'-,  and  probably  did,  degenerate  among  the 
untaught  x\merican  manufactures. 

This  new  species  of  music  was  of  course  eagerly  sought  and 
introduced,  and  the  first  American  author  looked  upon  as  a  pi-odigy ; 
while  others,  in  every  part  of  New  England,  in  true  Yankee  spirit, 
tried  to  imitate  him. 

BILLINGS   A    PIONEER. 

As  Billings  is  the  father  and  pioneer  of  American  compositions, 
so  was  he  of  choirs,  public  singing-schools,  and  concerts.  We 
therefore  feel  in  duty  bound,  as  a  sort  of  necessary  introduction  to 
the  following  pages,  and  future  history  of  music  in  this  country, 
to  give  a  brief  account  of  his  musical  movements,  before  we  com- 
mence a  history  of  schools,  choirs,  and  ehurch  music  generally. 

However  uncultivated  he  might  have  been  in  his  manners,  mind, 
or  appciirance,  still  we  are  constrained  to  acknowledge  him  as  the 
first  writer  of  American  nmsic  who,  by  his  teachings  and  publica- 
tions, roused  up  a  musical  spirit  that  moved  all  New  England.  If 
the  spirit  was  not  pure,  it  produced  combustibles  that  afterwards 
burst  into  a  flame  of  systematic  harmony.  Like  every  new  move- 
ment, perfection  is  alwa}'s  far  ahead,  and  after  generations  secure 
most  of  the  praise  and  profit. 


AMERICAN    PSALMODY   FROM    1770.  43 

Billings  was  born  in  Boston,  is  said  to  have  been  of  humble 
origin,  and  in  early  life  his  occupation  was  tJiat  of  a  tanner. 
Tlie  building  in  which  he  labored  was  located  in  Eliot-street,  in 
]3oston.  His  opiiortunities  for  even  common  education  were  very 
limited.  His  means  to  acquire  a  knowledge  of  the  science  of 
music  must  have  been  still  less,  as  there  was  nothing  but  Tansur's 
Musical  Grammar  to  be  found  in  this  country,  which  he  probably 
never  read ;   and  if  he  had,  it  was  an  imperfect  guide. 

We  have  been  informed,  by  those  that  knew  his  history,  that  he 
wrote  his  first  tunes  with  chalk,  on  the  walls  of  the  building,  while 
tending  the  mill  to  grind  bark.  It  will  be  found  that  he  was  not 
void  of  the  spirit  of  poetry,  —  at  least,  he  had  a  vivid  imagination ; 
and  though,  through  his  ignorance  of  language,  his  poetry,  which 
he  occasionally  wrote  and  set  to  music,  will  be  found  sometimes 
ludicrous  or  amusing,  yet  now  and  then  he  approached  the  solemn 
or  sublime. 

There  were  many  circumstances  combined,  as  we  have  said, 
about  this  period,  which  tended  to  introduce  his  music,  beside  thai 
of  the  bewitching  nature  of  its  movement.  He  was  a  zealous 
patriot,  much  attached  to  the  great  patriot.  Gov.  Samuel  Adams, 
who  was  also  an  ardent  lover  of  music.  Adams  and  the  late  Dr. 
IMerce,  of  Brookline,  used  to  stand  side  by  side  with  Billmgs  to 
perform  in  the  church  choir  and  concert. 

POLITICAL    EFFECT    OF    MUSIC. 

The  efiect  that  music  had  on  the  people  was  perceived  by  all. 
In  those  days,  patriotic  songs  were  unknown ;  so  Billings,  from  his 
ardent  spirit,  composed  or  procured  words,  of  a  mixed  character, 
combining  religion  and  patriotism,  which,  when  set  to  music, 
answered  every  purpose ;  and  the  one  single  tune  of  Chester,  with 
the  following  words  attached,  was  a  powerful  instrument,  for  the 
time,  in  exciting  the  spirit  of  liberty. 

"  Let  tyrants  shake  their  iron  rod. 

And  slavery  clank  her  galling  chains  ; 


44  AMERICAN    PSALMODY   FROM    ITTO. 

We  '11  fear  them  not,  we  '11  trust  in  God  ; 
New  England's  God  forever  reigns. 

**  The  foe  comes  on  with  haughty  stride, 
Our  troops  advance  with  martial  noise; 
Their  veterans  flee  before  our  arms, 
And  generals  yield  to  beardless  boys." 

These  words,  and  the  tune  att^iched  to  them,  were  learned  by 
every  choir,  and  in  every  flmiily,  and  by  every  child,  and  sung  in 
the  house  and  by  the  way,  like  popular  songs  at  the  present  day, 
and  perhaps  did  more  to  inspire  a  spirit  of  freedom  than  any  one 
thing  that  occurred  at  this  critical  moment.  Not  only  this  tune 
and  these  words,  but  many  others  of  like  character,  were  used, 
r  that  breathed  the  spirit  of  the  day,  some  of  which  S.  Adams  prob- 
ably had,  to  say  the  least,  seen  before  they  were  published. 

Besides,  previous  to  this  time,  the  old  tunes  sung  used  to  be 
"  set,"  or  "  struck  up,"  without  any  certainty  of  the  right  pitch, 
and  performed  without  any  correct  time  or  tune ;  but  now  the 
singers  were  in  some  measure  instructed,  and  the  music,  in 
and  about  Boston  and  New  England,  performed  by  choirs,  so  that 
it  was  a  new  era  in  the  manner  and  spirit  of  singing  ;  and  Billings 
way,  in  some  sense,  be  called  a  reformer;  and  although,  after 
many  years,  his  music  declined  in  the  estimation  of  the  public, 
still  his  zeal,  perseverance,  originality,  and  native  talent,  were  so 
manifest,  that  his  name,  and  many  of  his  melodies,  and  some  of  his 
tunes,  in  almost  their  original  form,  will  outlive  thousands  of 
more  modern  date.  There  was  so  much  merit  in  some  of  his  airs  or 
melodies,  that  some  of  the  greatest  masters  of  Europe  have  been 
heard  to  say  that  if  they  could  write  an  air  like  some  of  his  they 
should  consider  their  names  immortalized. 

billings'  concerts  and  exhibitions. 
We  have  said  Billings  was  the  father  of  concerts  or  musical 
exhibitions  in  this  country.     These,  too,  with  the  music  and  words 
attached,    tended  to  help  on  the  political  fever.     The  character 


AMERICAN    PSALMODY    FROM    1770.  45 

and  object,  however,  of  these  concerts,  and  many  of  the  customs 
introduced  at  their  exhibitions,  would  perhaps  appear  rather  ludi- 
crous at  the  present  day.  For  instance,  when  the  words  "  clap 
your  hands "  occurred  in  their  music,  they  used  to  make  the 
action  correspond  with  the  words,  and  all  clap  their  hands  in  time. 
AVe  cannot,  perhaps,  better  express  the  evident  intent  and  object  of 
these  concerts,  than  to  use  Billings'  own  words,  which  were  affixed 
to  one  of  his  introductory  anthems,  and  sung  at  one  of  these  exhi- 
bitions. He  says,  in  regard  to  the  manner  of  introducing  it,  "After 
the  audience  are  seated,  and  the  performers  taken  their  pitch 
slyly  from  the  leader,  the  concert  begins ;  "  and  here  we  find  tjie 
words  which  we  suppose  express  their  object : 

**  We  've  met  for  a  concert  of  modern  invention; 
To  tickle  the  ear  Ls  our  present  intention. 
The  audience  seated,  expecting  to  be  treated 
"With  a  piece  of  the  best." 

And,  to  give  our  readers  an  idea  of  the  character  of  the  words  gen- 
erally made  use  of,  we  will  add  a  few  more  of  those  affixed  to  the 
same  piece  of  music  : 

*•  And  since  we  all  agree 
To  set  the  key  on  E, 
The  author's  darling  key 
He  prefers  to  the  rest." 

Then  u  fugue,  the  bass  commencing,  — 

•*  The  Bass  take  the  lead, 
And  firmly  proceed  ; 
Let  the  Tenor  succeed,"  tic. 

We  may  reasonably  infer,  from  the  character  of  the  words  and 
music  used  at  this  time,  and  for  many  years  afterwards,  that  to 
"  tickle  the  ear  "  was  the  main  object ;  and  may  we  not  also  fear 
that,  at  the  present  day,  there  are  many  performers  and  hearers 
striving  rather  to  tickle,  and  have  their  ears  tickled,  than  their 
h\v.-fs  improved  ? 


46  AMERICAN    PSALMODY   FROM   1110. 

billings'    voice,    PERSONAL    APPEARANCE   AND   HABITS. 

We  have  heard  the  late  Rev.  Dr.  Pierce,  of  Brookline,  relate 
many  incidents  in  regard  to  the  life  and  character  of  Billings,  he 
being  personally  acquainted  with  him,  and  having  so  frequently 
sung  with  him.  He  said  Billings  had  a  stentorian  voice,  and 
when  he  stood  by  him  to  sing,  he  could  not  hear  his  own  voice  ; 
and  every  one  that  ever  heard  Dr.  Pierce  sing,  especially  at  Com- 
mencement dinners,  at  Cambridge,  knows  that  his  voice  was  not 
wanting  in  power. 

Billings  was  somewhat  deformed  in  person,  blind  with  one  eye, 
orife  leg  shorter  than  the  other,  one  arm  somewhat  withered,  with  a 
mind  as  eccentric  as  his  person  was  deformed.  To  say  nothing  of 
the  deformity  of  his  habits,  suffice  it  to  say,  he  had  a  propensity 
for  taking  snuff  that  may  seem  almost  incredible,  when  in  these 
days  those  that  use  it  are  not  very  much  inclined  to  expose  the 
article.  He  used  to  carry  it  in  his  coat- pocket,  which  was  made 
of  leather ;  and  every  few  minutes,  instead  of  taking  it  in  the 
usual  manner,  with  thumb  and  finger,  would  take  out  a  handful 
and  snuff  it  from  between  his  thumb  and  clenched  hand.  We 
might  infer,  from  this  circumstance,  that  his  voice  could  not  have 
been  very  pleasant  and  delicate. 

He  for  many  years  kept  a  music-store  in  Boston,  and  was  once 
in  a  while  annoyed  by  the  tricks  of  boys.  Having  a  sign  pro- 
jecting from  his  door  over  the  sidewalk,  with  the  words  "  Billings' 
Music  "  on  each  side,  one  evening  a  couple  of  cats,  with  their 
hind  legs  tied  together,  were  thrown  unceremoniously  across  the 
sign  ;  and  when  their  faces  came  together  below,  their  music  was 
not  of  the  sweetest  kind,  and  rather  grating  to  the  tenant's  ear. 
A  multitude  of  hearers  soon  assembled,  and  had  an  opiX)rtunity  of 
reading  the  sign,  and  hearing  their  music,  such  as  it  was,  a  long 
time  before  they  could  be  released. 

OF    LINING    THE   HYMN. 

The  reading  or  lining  the  hynm  sung  had  been  practised  in 
some  churches  for  nearly  a  century.     Tlie  first  innovation  was 


AMERICAN   PSALMODY    FROM   1770.  47 

th6  reading  two  lines  in  succession,  instead  of  one.  The  reading 
was  usually  done  in  a  monotonous,  sing-song  manner ;  still,  with 
the  singers  there  was  a  choice  in  the  readers.  One  who  could 
continue  to  read  on  the  key  or  pitch  of  the  tune  was  a  great  con- 
venience, as  it  required  some  skill  for  singers  to  retain  their  pitch 
through  the  interlude  of  reading,  if  read  on  a  different  key ;  there- 
fore, one  who  could  sustain  the  pitch  was  a  very  desirable  acquisi- 
tion, and  this  often  had  much  influence  in  the  choice  of  deacons. 
JMultitudes  of  anecdotes  are  told  of  ludicrous  occurrences  that 
took  place  while  this  practice  was  in  vogue,  such  as  may  be 
observed  at  the  present  day,  when  necessity  drives  to  this  resort, 
where  books  are  not  at  hand ;  such  as,  by  stopping  at  the  end 
of  each  line,  the  sense  is  perverted  or  destroyed ;  for  instance, 

*'  The  tidings  strike  a  doleful  sound 

On  my  poor  heart-strings  deep  he  lies " 

We  will  relate  what  occurred  on  one  occasion,  that  we  heard 
related  by  one  who  was  present,  which  will  give  some  idea  of 
others  that  might  happen.  It  will  be  understood,  in  the  first 
place,  that  poetry  was  not  just  like  the  poetry  of  the  present  day, 
although  there  is  still  room  for  improvement.  For  instance,  some 
words  that  we  7ioiu  pronounce  as  one  syllable,  then  had  two,  and 
sometimes  clashed  with  the  accent  of  the  tune ;  words  ending  in 
tiojij  such  as  salvation,  the  last  syllable  was  divided  and  pro- 
nounced si-an,  or  shi-on;  and  two  syllables  of  such  words  as 
hea-ven,  sev-en,  the  latter  occurring  in  one  of  Tate  and  Brady's 
hymns,  where  it  commences,  "  Seven  times  a  day  I  raise  my 
voice,"  and  the  deacon  read  "  Sev-en  times  a  day,"  &c.  The 
singers  commenced  with  the  tune  of  "  Wells;  "  but,  using  two  syl- 
lables to  the  first  word,  soon  found  themselves  "  out."  The  deacon 
read  again.  Singers  had  no  better  success.  All  was  consternation, 
till  a  brother  deacon  by  his  side  kindly  suggested  to  the  reader  to 
try  six,  which  he  did,  and  the  singing  went  off  triumphantly. 

This   custom,   however,  of  reading,  or   lining,  or,  as  it   was 
frequently  called,    "deaconing,"   the    hymn   or    psalm   in    the 


48  AMERICAN    PSALMODY   FROM    ITVO. 

churches,  was  brought  about  partly  from  necessity,  first  in  our 
fathers'  day  for  want  of  books  ;  second,  as  the  tunes  Billings  had 
manufactured  had  no  stopping-place,  especially  the  two  last  lines 
of  a  verse,  therefore  the  necessity  of  the  first  innovation,  which 
was  to  read  two  lines  at  a  time.  To  do  away  the  custom  wholly, 
Billings  writes,  "  As  all  now  have  books,  and  all  can  read,  't  is  in- 
sulting to  have  the  lines  read  in  this  way,  for  it  is  practically  say- 
ing. We  men  of  letters,  and  you  ignorant  creatures." 

BILLTNGS'    MUSICAL    PUBLICATIONS. 

He  paraphrased  the  beautiful  piece  of  ancient  music,  137th 
Psalm,  "  By  the  rivers  of  Babylon  we  sat  down  and  wept,"  at  the 
time  the  British  forces  occupied  the  then  town  of  Boston,  and  the 
American  army,  such  as  it  was,  was  stationed  at  Watertown.  His 
language,  which  was  substituted,  may  not  seem  to  our  readers  very 
sublime,  when  it  is  compared  with  the  original,  and  set  to  music  as 
follows :  "By  the  rivers  of  Water  toiv?i  we  sat  down  and  wept, 
when  we  remember  thee,  0  Boston ; "  continuing  the  subject 
onward,  instead  of  the  words,  "  If  I  forget  thee,  0  Jerusalem," 
&c.,  he  says,  "  If  I  forget  thee,  0  Boston ;  "  and  then  breaks  forth 
in  a  powerful  strain  or  chorus,  with  the  following  words  : 

'*  Then  let  my  numbers  cease  to  flow, 
Then  be  my  muse  unkind; 
Then  let  my  tongue  forget  to  move. 
And  ever  be  confined. 
Let  horrid  jargon  split  the  air, 
And  rive  my  nerves  asunder; 
Let  hateful  discord  grate  my  ear, 
As  terrible  as  thunder. ' ' 

The  first  book  of  music  he  published  he  named  the  "  New  Eng- 
land Psalm-singer,"  containing  one  hundred  and  eight  pages ;  this 
was  in  the  year  1770.  A  proof  that  the  spirit  of  rebellion 
against  the  mother  country  was  not  yet  fully  developed,  are  the 
following  words  on  the  title  page : 

'*  0  praise  the  Lord  witli  one  consent, 
And  in  this  grand  design 


A.MKKRAN    PSALMODY    FROM    ITTO.  49 

Let  Britain  and  the  colonies 
Unanimously  join." 

In  this  book  the  parts  were  arranged  for  the  tenor  voices  to  sing 
the  melody.  He  had  no  regard  for  the  hiws  of  harmony ;  and 
when  the  parts  moved  forward,  they  soon  became  entangled  so  as 
to  cause  admiration  and  astonishment  to  a  hearer  to  find  the  parts 
all  brought  out  in  safety  at  the  last  word  of  the  tune.  Billings, 
in  describing  the  effects  of  the  masic,  says,  "  It  has  more  than 
twenty  times  the  power  of  the  old  slow  tunes ;  each  part  straining 
for  mastery  and  victory,  the  audience  entertained  and  delighted, 
their  minds  surpa^^singly  agitated  and  extremely  fluctuated,  some- 
times declaring  for  one  part,  and  sometimes  another.  Now^he 
solemn  bass  demands  their  attention,  —  next,  the  manly  tenor ; 
now,  the  lofty  counter,  —  now,  the  volatile  treble.  Now  here,  — 
now  there,  —  now  here  again.  0,  ecstatic  !  Hush  on,  ye  sons  of 
harmony  "  ! 

His  second  publication,  called  "  Singing-master's  Assistant," 
was  published  in  1778,  one  hundred  and  two  pages,  an  abridgment 
as  well  as  improvement  of  his  former  work  ;  and  had  the  tunes  been 
timed  and  harmonized  scientifically,  they  would  have  done  honor  to 
any  country.  But  he  was  satijrfied,  as  he  says,  with  nature  for  his 
guide,  —  probably  because  he  knew  nothing  better.  He  says,  con- 
cerning the  rules  of  composition,  "  Nature  is  the  best  dictator ;  for 
all  the  hard-studied  rules  ever  prescribed  will  not  enaBle  any  one 
to  form  an  air,  any  more  than  knowing  the  twenty-four  letters 
will  enable  a  scholar  to  write  poetry.''  There  is  some  truth  mixed 
with  his  extravagance.  The  question  may  w^ell  be  asked,  whether 
an  air  beautiful  in  itself,  imjwrfect  though  not  discordant  in  har- 
mony, is  not  more  satisfactory,  than  tunes  or  notes,  piled  up  accord- 
ing to  the  rules  of  harmony,  that  have  no  air  or  soul  to  them. 
Apply  the  principle  to  John  Bunyan,  and  his  -'  Pilgrim's  Pro- 
gress," which,  on  the  score  of  mere  literary  merit,  would  long  ago 
have  been  thrown  aside.  We  woidd  by  no  means  condemn  good  or 
countenance  bad  harmony  ;  but  as  in  the  case  of  Bunyan 's  works, 
all  attempts  to  give  literary  finish  are  always  found  to  destroy 
5 


50*  AMERICAN    PSALMODY    FROM    1770. 

their  power ;  would  it  not  be  as  well  either  to  let  Billings'  tunes 
alone,  or  to  publish  them  without  such  material  alteration  as  to 
oflfend  the  ears  and  feelings  of  those  who  heard  or  sung  them  in 
their  younger  days.  —  tunes  recalling  early  associations,  which  a 
few  changed  notes  will  instantly  dissipate  ?  He  goes  on  and  says, 
"  Nature  must  do  the  work  ;  so,  in  fact,  I  think  it  is  best  for  every 
composer  to  be  his  own  carver.  Therefore,  for  me  to  dictate  or 
pretend  to  prescribe  rules  for  others,  would  be  a  very  great  piece 
of  vanity."  This  book  was  called  ''  Billings'  Best."  He  was  satis- 
fied that  he  had  erred  in  his  first  book,  though  at  the  time  he 
thought  it  near  perfection.  "  But  now,"  says  he,  "  I  am  satis- 
fied that  many  of  the  tunes  were  worthless,  although  at  the  time 
I  called  them  '  my  Reuben.'  Now,"  says  he,  "  I  find  that  it  is 
Reuben  in  the  sequel,  and  Reuben  all  over."  The  latter  book  was 
popular  with  the  multitude,  and  spread  over  the  land. .  It  was 
carried  by  the  soldiers  from  camp  to  camp,  amusing  both  perform- 
ers and  listeners ;  and  many  at  the  present  day,  who  used  to  listen 
to  his  and  other  similar  music  sung  in  church  in  their  early  life, 
and  even  some  at  the  present  day  who  have  no  such  early  associa- 
tions, are  pleased  and  fascinated  to  hear  it,  and  its  bewitching 
jingle,  which  in  a  great  measure  covers  the  errors  of  the  harmony. 
His  other  publications  were  "  Music  in  Miniature,"  — sixty-three 
pages  original,  and  eleven  old  standard  tunes.  "  Psalm-singers' 
Amusement,"  one  hundred  and  three  pages,  in  1781.  "  Sufiblk 
Harmony,"  fifty-six  pages,  1786.  "  Continental  Harmony,"  one 
hundred  and  ninety-nine  pages,  1794.  These,  with  occasional 
anthems,  include  all  his  published  compositions. 

His  last  book  is  the  only  one  of  his  printed  in  type.  In  this 
volume  he  again  asserts  the  superiority  of  his  new  music  over  the 
old  tunes,  and  says,  "  It  is  an  old  maxim  that  '  variety  is  pleasing ;' 
and  it  is  well  known  that  there  is  more  variety  in  one  piece  of 
fligueing  music  than  twenty  of  plain  song.  For,  while  the  tones 
do  most  sweetly  coincide  and  agree,  the  words  are  seemingly 
engaged  in  a  musical  warfare ;  and  excuse  the  paradox,  if  I  fur- 
ther add,  that  each  part  seems  determined,  })y  dint  of  harmony 


AMERICAN    PSALMODY    FROM    1770.  .51 

and  strength  of  accent,  to  drown  his  competitor  in  an  ocean  of 
hai-monj." 

AMERICAN  AUTHORS. 

In  addition  to  the  afore-mentioned  publications  of  Billings, 
others  commenced  writing  and  publishing  music  of  the  same  char- 
acter, but  most  of  it  was  inferior  to  his  in  merit.  "We  can  only 
mention  the  names  of  some  of  many  publishers  and  authors, 
that  we  may  give  a  connected  sketch  of  the  progress  of  music  :  — 

Gentlemen  and  Ladies'  Musical  Companion,  by  John  Stickney, 
1774. 

Williams  and  Tansur ;  printed  and  sold  by  D.  Baily,  Newbu- 
ryport,  177-4  and  1778. 

Northampton  Collection,  by  Elias  Mann,  1779. 

Collection  of  Hymns  and  Tunes,  by  Andrew  Law,  1782. 

Select  Tunes  and  Anthems.   Author,  Oliver  Brownson,  1783. 

Massachusetts  Harmony,  by  a  Lover  of  Harmony,  1784. 

Introductory  Lessons,  practised  by  the  Uranian  Society,  Phila- 
delphia, 1785. 

Original  Music,  by  Andrew  Law;  published  in  Baltimore, 
1786. 

Worcester  Collection,  for  the  use  of  singing-schools  ;  printed  by 
Isaiah  Thomas,  of  Worcester,  in  1786,  one  hundred  and  ninety- 
eight  pages,  —  the  first  type  music  in  America.  Several  edi- 
tions were  published ;  the  sixth,  in  1797,  was  edited  by  Oliver 
Holden. 

Chorister's  Companiqp,  by  Simeon  Jocelin,  1788.  Psalm  and 
Hymn  tunes. 

Federal  Harmony,  in  three  parts.  Psalm  tunes  and  three 
anthems. 

Original  Music,  by  Abraham  Wood,  of  Northboro',  Mass.,  1789. 

Harmonia  Americana,  —  Samuel  Holyoke. 

Musical  Magazine,  — A.  Law,  1792,  1793,  1794. 

American  Harmony,  —  Oliver  Holden,  thirty-two  pages,  origi- 
nal ;  Charlestown. 


62'  AMERICAN   PSALMODY    FROM    1770. 

Chorister's  Companion,  Supplement,  —  Simeon  Jocelin,  sixteen 
pages,  original,  1792. 

Rural  Harmony,  —  Jacob  Kimball,  Topsfield ;  original. 

Union  Harmony,  —  Oliver  Holden,  1793. 

Columbian  Harmony,  —  Joseph  Stone,  1793. 

Tunes  and  Anthems,  —  Hans  Gram,  1793. 

Columbian  Harmony,  No.  1,  —  Daniel  Reid,  1793. 

Psalmodist's  Companion,  —  Jacob  French,  1793. 

Massachusetts  Compiler,  —  Holden,  Hans  Gram  and  Holyoke, 
1794. 

Harmony  of  Maine,  —  Samuel  Belcher,  of  Farmington,  1794. 

The  Repository,  —  Amos  Bull,  Hartford,  1794. 

Middlesex  Harmon}^ ,  1795. 

Vocal  Instructor,  —  Benjamin  Dearborn. 

Columbian  Repository,  —  Samuel  Holyoke,  1812. 

Harmonist's  Companion,  —  Daniel  Belknap,  of  Framingham, 
1797. 

United  States  Sacred  Harmony ;  popular  in  South  Carolina  for  a 
time,  —  Charlestown,  S.  C,  by  Amos  Pillsbury. 

Harmonia  Coelestis, — Jonathan  Benjamin;  church  music; 
mostly  European ;  figured  for  the  organ,  1799. 

MUSICAL   NOTES    AND    CHARACTERS. 

We  will  now  present  to  our  readers  some  of  the  charactera 
for  notation  that  have  been  made  use  of  to  direct  the  voice  and 
instrument  to  make  melodious  sounds,  in  ancient  and  modern 
times.  Some  ancient  characters  are  umntelligible,  and  almost 
indescribable ;  therefore,  we  have  not  thought  it  worth  while  to 
attempt  to  picture  the  unmeaning  scrolls  to  the  eye.  Examples 
of  some  of  them  are  given  in  "  Bird's  Gleanings  of  Music."  We 
merely  present  those  that  are  within  the  reach  of  our  imagination, 
if  not  comprehension,  directing  to  tones  higher  and  lower  in  pitch. 

The  first  specimen  we  shall  mention,  page  53,  is  found  in  the 
library  of  Cambridge  College,  which  is  a  sheet  about  two  feet 
square,   which   mast   have    been   painted,   or   engraved,   as   far 


AMERICAN    rSALMODY    FROM    1770. 


53 


back  as  1300.  The  notes  or  characters  are  aVx)ut  tkroe-foarths  of 
an  inch  square,  and  the  words  under  them  in  large  black  letter,  as 
in  the  annexed  example. 


^-^£ 


^ 


Q5rcat    is       ll)c  — 

The  first  book  in  notes  of  similar  characters,  but  small  in  size, 
was  printed  in  1453. 

Clefi.  Manner  of  slurring  notes.  Divided  by  syllables. 

Je  -  ho  -  vah     God      glory. 
Gregorian  Notes  and  Rests. 

Maximi.        Longa.      Opyensis.       Semibenes.      Semimmiuna.        Fusa.    Sexnibule. 


^=t^T  c^^^f^ 


ir=^=^i^^' 


In  the  first  music  written,  a  bar  was  used  to  divide  the  note,  or 
notes,  that  belonged  to  a  word.  Second,  to  show  the  end  of  a  line 
in  poetry.  Next,  to  divide  the  notes  into  equal  measures,  as  at 
the  present  day. 

Specimeii  of  Ravenscroft's  Music  and  Words. 

V 


^ 


:?n£ 


^ 


Ye  Rulers  which  are  put  in  trust 


To  iudge  of  wrong  and  right,  Be 


Different  kinds  of  Clefs^  used  from  time  to  time. 

BaM.  Medina  Tenor  or  Treble. 


AoeieDt  lod  unknova.        Ceonter  or  Alto. 


-=^t=if: 


-gs> 


mi 


Martin  Luther,  in   Gregorian  chants,   used  six   notes,   called 
ut  re  mi,  fa  sol  la.    Different  nations  at  different  ages  have  made 
use  of  different  syllables  and  different  numbers. 
5* 


54 


AMERICAN   PSALMODY   FROM   1770. 


First  letters  of  the  syllables  fa,  sol,  la,  me,  placed  on  the  staff 
histead  of  notes. 


TONE    YORK, 


=p3  zzL  ^  ilr  - 


^Yllile  shepherds  watched  their  flocks  by  night,  All  seated,  &c. 

The  foregoiug  is  after  the  manner  of  the  tunes  put  in  the  Bay 

Psalm-book. 

^    The  round-headed  notes  are  now  used  by  almost  all  nations. 


Formerly 
Breve. 

called 
Bemibreve. 

Minim. 

Crotchet. 

Quaver. 

Semiquaver. 

Demiaemiquaver. 

-D 

^ 

■'        ■ 

"5 

1 

1 1> 1 

1 V. J 

1 B L 

Modem  names.    >Thole  Xote.        Half  Note.  Quarter.  8th  Note.  IGtb  Note.  32d  Mote. 

These  round  notes  are  so  established  and  read  throughout  all 
civilized  nations,  that  it  -would  be  about  as  difficult  to  change  them 
for  any  other,  as  to  change  the  letters  of  the  alphabet. 

Andrew  Law's  new  method  of  Writing  Music. 

TUNE    WELLS. 


.LI 


The  forms  of  these  notes  indicate  the  name ;  the  dots  under  the 
notes  show  that  they  are  the  second  series  of/<2,  sol,  la,  from  the 
key.  This  plan  not  succeeding  without  lines,  he  next  published  a 
pamphlet  with  partial  or  broken  lines,  —  which  succeeded  but  very 
little  better,  —  as  follows  : 


TUNE    WHITFIELD. 


The  diamond  he  called  mi,  the  triangle  la,  the  square  fa,  and 
the  circle  sol. 

The  plan  of  indicating  the  names  of  the  notes  by  their  form  was, 
to  all  who  were  ignorant  of  reading  music,  enticing,  and,  as  they 
supposed,  labor-saving ;  and  had  Law  consulted  his  pecuniary 
interest,  and  placed  them  on  full  lines  at  first,  he  would  have  made 
it  profitable.     After  making  two  attempts  without  success,  ho 


AMERICAN    PSALMODY    FROM    1770.  55 

desisted ;  and  others  profited  by  tlie  form  of  the  characters,  which 
were  afterwards,  by  way  of  reproach,  called,  by  some,  buckwheat 
notes.  A  book  was  published  by  Little  &  Brown,  of  New  Haven, 
with  notes  of  similar  form  placed  on  regular  lines;  and  an  immense 
sale  of  them  was  effected,  particularly  in  the  w^est,  where  they  had 
little  opportunity  of  learning  nmsic  systematically.  He,  however, 
modified  the  system,  to  evade  the  law,  by  calling  the  diamond  la^ 
instead  of  7/?i,  and  the  triangle  ?77?,  la.  Such  was  the  ignorance  of 
any  other  kind  of  notes,  west  of  the  Alleghanies,  that  when  the 
Messrs.  Mason  published  their  first  book  of  church  music,  in  Cin- 
cinnati, 1834,  they  were  obliged,  against  their  convictions  of  right, 
to  suffer  the  publisher  to  make  use  of  such  notes,  to  accommodate 
the  wants  of  that  region,  —  of  which  they  sold  from  fifty  to  one 
hundred  thousand  copies.  But  they  soon  convinced  the  public  of 
their  error,  by  teaching ;  and  the  books,  if  used  at  all,  have  been 
crowded  to  the  far  west,  mostly  out  of  sight  and  hearing. 

OF    ENGLISH    METHODS    OF    TEACHING. MISS   GLOVER. 

We  find  in  English  publications  that  m.any  plans  and  experi- 
ments have  been  tried,  for  the  purpx)se  of  flicilitating  instruction, 
particularly  to  the  poor  and  laboring  classes,  in  order  to  teach  a 
multitude  at  the  same  time  ;  suchas*the  following,  by  Miss  Glover, 
>vritten  on  a  horizontal  line,  which  was  received  with  much  enthu- 
siasm, and  very  considerable  success  for  a  time,  for  the  purpose  it 
was  designed  ;  as  follows  :  — 

— :— d— :— r— :— 111— :— 1— :— s— :— la— :— t— :— d— 

Thus,  letters,  instead  of  the  forms  of  notes,  indicate  the  name ;  or, 
like  the  "  Bay  Psalm-book,"  only  having  seven  different  notes, 
instead  of  four.  The  names  of  the  seven  she  called,  do,  re, 
mi,  fa,  sol,  la,  te,  the  latter  instead  of  si,  to  avoid  the  repetition 
of  the  letter  s.  Tlicse  letters  stand  as  representatives  of  sound. 
She  gives  the  following  as  some  of  the  rules  fur  impartijig  instruc- 
tion :  —  Where  there  are  half-tones,  the  letters  arc  red.  When 
intended  to  be  sung  an  octave  a^xive,  they  are  marked  thus,  d!  r\ 


66  AMERICAN   PSALMODY   FROM    1770. 

were  placed  around  the  principal  letters  for  different  purposes,  to 
direct  the  singers.  Tliis  plan  was  introduced  at  first  for  the  pur- 
pose of  teaching  Sabbath-schools  and  laboring  classes  to  sing 
together  ;  having,  instead  of  a  gamut  or  scale,  a  modulator  or 
pointing-board,  on  which  these  letters  were  written,  tunes  were 
taught  by  pointing  to  the  modulator,  to  save  the  expense  of  books. 

In  1817,  Pierre  Galen,  professor  of  mathematics  in  the  lyceum 
of  Bordeaux,  taught  music  by  what  he  called  the  Meloplast 
method.  This  was  a  board  with  ruled  lines,  without  notes.  Upon 
these  lines  a  clef  is  placed;  then,  pointing  to  a  line  or  space,  the 
pupils  take  the  sound  as  though  an  actual  note  was  there.  lie 
taught  his  pupils  that  the  open  hand  was  an  indicator,  or  staff, 
which  was  only  a  revival  of  the  old  G  uidonian  plan  of  the  eleventh 
century. 

The  last  j)lan  introduced  m  this  country  for  learning  music  with 
greater  facility  is  of  Day  &  Beals,  in  1849 ;  where,  instead  of  let- 
ters to  indicate  the  note,  numerals  are  used  for  the  same  purpose, 
with  the  additional  advantaire  of  indicatino;  the  distance  of  one  note 
from  another,  as  follows  :  — 

TL'NE  0¥  ARLINGTON. 


|— +1  v^- 3 -a-- 2^--|-f '-4-1- 1--2- 1-3--5 

Books  printed  and  published  on  the  plan  of  the  latter,  through 
the  energy  and  perseverance  of  the  author,  have  had  quite  an 
extensive  circulation,  and  learnei-s  somewhat  numerous.  There  is 
no  doubt  that  many  of  the  variations  from  the  round  notes,  which 
have  been  from  time  to  time  adopted,  are  conveniences,  to  say  the 
least,  so  far  as  the  names  of  notes  are  concerned.  So  it  would  be 
for  the  learner  of  English  grammar  to  have  some  kind  of  mark 
over  each  word,  indicating  the  parts  of  speech.  But  whether  the 
former  assists  the  learner  in  giving  correct  sounds,  or  the  latter  a 
knowledge  of  the  principles  of  language^  admits  of  a  doubt. 


CHAPTER  IV. 

PROGRESS  OF  MUSIC  IN  AMERICA. 

Hubbard's  Opinion  of  Fugueing  Music. —  Dark  Age.  —  Negligence  of  Churches. 
—  Character  of  jNIusic  and  Performers  changed.  —  Authors.  —  Law.  —  Hol- 
den.  —  Ilolyoke.  —  Kimball.  —  Read.  —  Swan.  —  Hubbard.  —  Button.  — 
J.  Bailey.  —  0.  Shaw.  —  E.  L.  White.  —  Salem  and  Middlesex  Society.  — 
Published  Music.  —  Clashing  of  Old  and  New  Schools  and  Books.  —  Conten- 
tion in  Choirs.  —  Difiference  in  Taste.  —  Ignorance  of  the  Science  of  Music. — 
New  Era  in  Musical  Publications.  —  Advance  of  the  Science. — Modern 
American  Authors  mostly  living.  —  Teachers. 

We  have  now  given  a  list  of  the  books  of  music  to  the  nine- 
teenth century,  mostly  written  in  the  Billings  style.  With  a  few 
exceptions,  the  whole  mass  was  destitute  of  correct  harmony. 

Professor  Hubbard,  in  an  essay  which  will  be  mentioned  here- 
after, speaking  of  the  music  of  Billings  and  others  of  his  day,  is 
rather  severe ;  but,  being  in  the  day  of  reformation,  allowance  must 
be  made.  He  says,  "  Almost  every  pedant,  after  learning  his 
eight  notes,  has  commenced  author ;  with  geniuses  generally  as 
sterile  as  the  deserts  of  Arabia,  has  attempted  to  rival  the  great 
masters  of  music.  On  the  leaden  wings  of  dulness  he  has 
attempted  to  soar  into  the  regions  of  science  never  penetrated  but 
by  real  genius.  The  unhappy  authors,  after  torturing  every  note 
of  the  octave,  have  fallen  into  oblivion,  and  have  generally  outlived 
their  insignificant  works.  To  the  great  injury  of  true  religion,  this 
kind  of  nmsic  has  been  introduced  into  our  places  of  public  wor- 
ship. Devotion,  appalled  by  its  destructive  presence,  has  fled  from 
the  unhallowed  sound.      He  mentions,  for  example,  a  passage  in 


58 


PROGRESS   OF    MUSIC   IN    AMERICA. 


the   tune  of 
follows :  — 


Montague,"  where  the  words  move 


together 


Your     soug3  in  -  vite,  Those 


I 


»T^ 


tlie  high  heavens  yovx 


I 


^=p: 


Those    spa-cious  fields  of 


He  says,  "  To  catch  an  idea 
from  such  a  chaos  of  words,  uttered 
at  the  same  instant  of  time,  a  hearer 
must  be  furnished  with  ears  as 
numerous  as  the  eyes  of  Argus. 
Such  music  can  never  be  of  more 
consequence  than  an  oration  in  an 
unknown  tongue." 

Another  author  says,  "  The 
tunes  were  admired  in  proportion 
Of  brill-iant  light  where  to  the  popular  taking  character  of 
the  melodies,  or  to  the  wonderment  with  which  the  different  parts 
were  introduced,  entangled,  bewildered,  evolved,  and  at  length 
brought  out  in  safety ;  amusement  took  the  place  of  edification 
and  worship.  Congregational  singing  was,  of  course,  hushed,  — 
their  harps  were  hanged  upon  the  willows.  Devotion  fled,  and 
admiration  occupied  her  place."  After  all  these  defects,  they 
■gratify  the  ear  of  the  multitude.  Most  of  them  have  had  their 
day,  and  are  laid  aside.  Here  and  there  one  appears  in  modern 
publications,  either  in  its  original  or  a  patched  form.  Some  will 
probably  continue  to  hold  their  place  before  the  public  for  ages, 
as  specimens  of  the  art  in  by-gone  days. 


DARK    AGE. 

So  far  as  real  devotional  music  was  concerned,  the  thirty 
years  referred  to  was  a,  dark  age.  Many  a  sincere  worshipper  had 
the  same  feelings  of  a  certain  Pope,  when  he  was  disposed  to 
banish  music  from  the  churches  entirely,  because  the  tunes  were  so 
inappropriate.  Although  there  was  no  Palestrini  to  write  suitable 
music,  yet  there  were  always  very  many  who  appreciated  good  music, 
and  were  anxiously  waiting  for  a  change  in  public  sentiment,  that 
they  might  introduce  it,  and  were  ready  to  lend  a  helping  hand  and 
voice  to  brinir  about  so  desirable  a  reformation. 


PROGRESS    OF    MUSIC    IX    AMERICA.  59 

NEGLIGENCE   OF   CUURCUES. 

During  the  aforementioned  period,  and  for  many  years  after- 
wards, ministers  and  churches  who  ought  to  have  had  a  voice,  if 
not  the  direction,  in  this  part  of  public  worship,  suffered  it  to  bo 
wrested  from  them,  and  to  be  managed  and  executed  generally  by 
those  who  apparently  had  no  higher  object  in  view  than  to  please, 
astonish  and  amuse.  The  music  sung  was  so  constructed  that 
none  but  the  choir  could  take  part  in  its  performance.  Min- 
isters, Christians,  and  all  good  men,  and  men  of  correct  taste  in 
regard  to  music,  looked  on,  sometimes  grieved  and  sometimes 
vexed.  But  they  had  let  go  their  hold,  and  the  multitude  had  the 
whole  management  of  it,  and  sung  what  and  when  they  pleased  ; 
until  finally  hearers  had  well-nigh  given  up  all  interest  in  the 
subject,  and  settled  into  indifference. 

CHARACTER    OF    MUSIC    AND    PERFORMERS    CHANGED. 

During  this  time,  very  few  of  those  engaged  in  singing  had 
ever  heard  any  but  American  tunes,  except,  perhaps,  now  and 
then  one,  such  as  Bangor,  St.  Martin's,  or  Old  Hundred,  sung 
by  their  fathers  and  mothers,  which  they  listened  to  as  being 
something  out  of  fashion,  and  unfit  for  modern  use.  Old  Hundred 
by  some  means  acquired  extraordinary  credit  in  the  community, 
and  retained  its  place  in  the  memory  and  approbation  of  singers 
through  all  generations,  and  was  occasionally  sung.  Well  do  we 
remember  when  the  most  said  about  it  was  that  "  it  had  grand 
chords^  It  stood  in  the  midst  of  spurious  music,  like  some  few 
professors  of  religion,  whose  conduct  is  so  consistent  that  all  are 
constrained  to  say,  *'  I  think  that  man  is  a  Christian."  After  the 
commencement  of  the  present  century,  many,  from  curiosity  or 
judgment,  were  led  to  try  other  tunes  of  the  same  character,  by  way 
of  experiment,  and  were  soon  convinced  that  there  were  some 
sweets  in  them  that  they  had  never  heard  of  or  tasted.  Lovers  of 
pure  church  music  watched  and  hoped,  and  were  ready  and  willing 
to  join  heart  and  voice  in  the  cause,  and  encourage  every  appear- 
ance of  change  to  genuine  devotional  music,  till  by  and  by  rays  of 


60  PROGRESS   OF   MUSIC    IN    AMERICA. 

light  seemed  to  penetrate  the  dense  and  protracted  gloom.  But, 
before  we  enter  minutely  on  this  subject,  we  feel  it  proper  to  men- 
tion some  of  the  agencies  exerted  to  disseminate  a  more  correct 
taate,  and  a  better  style  of  music. 

AUTHORS. 

The  account  we  have  given  of  books  and  authors  is  not  without 
exceptions ;  nor  can  we,  in  justice  to  the  subject,  refrain  from  tak- 
ing notice  of  some  who  lived  and  labored  in  those  days,  who  never 
fully  yielded  to  the  popular  tide,  either  as  it  regarded  the  pre- 
vailing music  or  manner  of  conducting  it.  Although,  during  the 
thirty  or  forty  years,  no  apparent  material  improvement  took  place, 
still,  all  the  while,  there  was  a  gradual  advance  in  public  taste. 
Those  who,  as  teachers,  choristers  or  hearers,  undertook  the  work 
of  reform,  were  far  from  being  the  most  popular.  We  shall  speak 
of  those  whose  talents  were  known  to  us"  and  others,  and  whose 
labors  speak  for  themselves.  The  first  whom  we  shall  mention  is 
Andrew  Law. 

Andrew  Law  will  be  found  to  have  published  a  collection  of 
music  a  short  time  after  Billings'  second  book,  in  1776.  He  was 
a  well-educated  man,  of  good  character  and  talents.  His  first  book 
contained  many  excellent  tunes.  He  never  partook  fully  of  the 
spirit  of  the  times  in  which  he  lived,  either  in  feeling  or  action ;  but 
had  stood  aloof  from  the  swelling  current  that  swallowed  up  and 
carried  off  all  regular  church  tunes  written  by  masters  in  England 
and  Germany.  His  taste  and  judgment  were  in  advance  of  the 
age  in  which  he  lived,  and  he  was  probably  better  informed  in  the 
science  of  music  than  any  other  teacher  of  his  day. 

He  was  the  author  of  the  tune  of  Archdale,  made  familiar  to 
every  lover  of  music,  by  being  published  in  almost  every  book 
of  masic  for  the  last  forty  years.  This  tune  is  characteristic 
of  the  man,  and  no  one  written  at  that  time  has  sufiercd  fewer 
alterations  by  those  who  have  re-published  it.  He  afterwards 
compiled  and  published  a  valuable  collection  of  anthems  and  psalm- 
tunes,  taken  mostly  from  European  authors,  such  as  "  0  Lord  God 


PROGRESS    OF    MUSIC    IN    AMERICA.  61 

of  Israel,"  "  Arise,  shine,  0  Zion,"  &c.    The  work  was  expensive, 
being  neatly  engraved. 

Alx)ut  thirty  years  ago,  he  published  a  small  collection  of  tunes, 
principally  his  own  composition,  written  u];)on  a  new  plan ;  the 
characters  placed  on  the  page  without  lines,  having  the  appearance 
of  being  written  on  lines,  and  then  the  lines  erased.  (See  p.  54.) 
In  the  course  of  his  life  he  taught  more  or  less  in  most  of  the  New 
England  States,  particularly  in  colleges,  where  the  officers  and 
students  could  better  appreciate  his  talents,  they  being  accustomed 
to  investigate  every  subject  connected  with  education.  They  could 
readily  perceive  the  diflference  between  his  instruction  and  those 
superficial  teachers  commonly  found  at  the  head  of  schools  in  his 
day ;  and  if  his  peculiarities  sometimes  rendered  him  tiresome,  his 
evident  devotion  to  the  benefit  of  his  pupils  caused  them  to 
excuse  every  seeming  inconvenience.  Connecticut  was  his  native 
state,  and  there  he  died,  in  the  city  of  New  Haven,  at  a  good  old 
age,  some  ten  or  fifteen  years  ago.  Although  he  was  probably  the 
mast  thorough  teacher  in  tlie  country,  still,  as  is  often  the  case,  his 
thorough  method  of  training  made  him  unpopular  with  the  multi- 
tude. He  was  very  particular  in  forming,  or  what  he  called  tuning, 
the  voice,  not  only  of  individual  voices,  but  the  voices  of  each  part 
in  connection,  so  as  to  make  the  whole  to  harmonize  together ;  not 
allowing  any  one  voice  to  be  prominent  above  all  others.  He  was 
also  the  first  in  this  country  to  insist  on  the  propriety  and  adopt 
the  practice,  which  has  since  been  generally  adopted,  of  giving  to 
female  voices  the  air,  or  soprano,  of  the  tunes  ;  but  this  was  then 
a  new,  unpopular  doctrine.  Nothing,  however,  could  divert  him 
from  his  opinions  and  purposes  of  right  and  wrong ;  and  although 
his  views  often  clashed  with  those  of  the  multitude,  he  persevered, 
and  those  now  living  who  knew  him  best  admire  his  talents  the  most. 

Oliver  IIolden,  of  Charles  town,  Mass.,  who  but  a  few  years 

since  left  this  world  of  imperfect  harmony  for  that  where  discord 

is  not  known.     Eiirly  in  life,  he  was  a  true  and  enthusiastic  lover 

of  music.     His  compositions  were  much  admired,  and  extensively 

6 


bZ  PROGRESS  OF  MUSIC   IN    AMERICA. 

used  in  New  England.  Few  of  his  tunes  were  of  a  fugueing 
cbiracter.  There  was  something  pleasing  and  devotional  in  his 
style.  The  truly  animating  tune  of  Coronation,  written  by  him, 
has  been  universally  sung,  if  not  admired,  and  will  carry  with  it 
his  name  to  all  future  generations.  There  were  many  tunes  that 
gave  evidence  of  much  native  genius  and  correct  taste.  We  have 
heard  a  select  piece  of  his,  called  "  Dedicatory  Poem,"  performed 
with  good  effect  for  the  occasion.  There  were  one  or  two  solos 
and  duets  in  it,  truly  beautiful.  If  he  had  continued  to  devote 
his  time  and  talents  to  the  subject,  after  the  means  of  acquiring  a 
knowledge  of  the  science  became  more  accessible  in  this  country, 
he  would  probably  have  stood  among  the  first  of  American  authors. 
Thirty  years  ago,  or  more,  he  retired  from  public  schools  and 
choirs,  still  retaining,  however,  his  taste  and  love  for  music  of 
every  description,  and  occasionally,  when  he  found  words  suited  to 
his  taste,  set  them  to  music.  A  short  time  before  his  death  he 
probably  wrote  the  following  words,  and  adapted  music  to  them : 

"  God  of  my  life,  nigh  draws  the  time 
When  thou  -vvilt  summon  me  away, 
To  dwell  with  those  who  dwell  on  high,  — 
To  sin  no  more,  no  more  to  die. 

"  My  youthful  days  and  riper  years, 
My  jo3^ul  hours  and  hours  of  tears, 
Passing  away  like  fleeting  wind. 
Leave  but  a  remnant  yet  behind." 

This  was  published  by  the  family,  on  a  sheet,  after  his  death,  for 
the  use  of  friends  exclusively.  His  death  was  lamented  by  all 
who  knew  him,  not  only  for  his  musical  talent,  but  for  his  private 
character,  and  valuable  public  services  as  a  citizen.  He  died  at  a 
good  old  age,  at  peace  with  God  and  man. 

Samuel  Holyokk,  son  of  the  llev.  Elizur  Holyoke,  of  Boxford, 
IMass.,  was  an  indefatigable  laborer  in  the  field  of  music.  His 
first  book,  called  "Harmonia  Americana,"  published  in  1791,  was 
of  his  own  composition.     He,  as  well  as  Law,  stood  aloof,  more 


PROGRESS   OF   5IUSIC    IN   AMERICA.  G3 

than  any  others  of  that  Jay,  from  jingling,  fugueing  music.  We 
have  seen  many  of  his  musical  compositions  in  manuscript,  written 
in  the  latter  part  of  his  life,  that  discovered  much  taste,  skill  and 
originality,  which  will  probably  be  lost  to  the  public.  His  first 
}x)ok,  not  being  exactly  fitted  for  schools  in  the  day  in  which  he 
lived  and  taught,  was  not  very  extensively  used,  except  by  him- 
self. He  taught  both  instrumental  and  vocal  music.  His  voice 
was  never  melodious.  In  the  latter  part  of  his  life,  he  made  use 
of  a  clarinet  in  his  schools,  while  teaching  singing,  and  the  tone 
of  his  instrument  was  as  harsh  as  his  voice.  But  his  talent  for 
teaching  was  rather  popular.  The  most  prominent  of  his  labors, 
as  an  author,  was  a  work  called  "  Columbian  Repository,"  published 
about  1810,  in  which  he  not  only  selected  and  adapted  a  difierent 
tune  for  every  psalm  and  hymn  of  Watts,  but  had  the  whole  of  the 
words  printed  in  connection  with  the  tunes.  It  was  mammoth  in 
size,  and  astonishingly  mammoth  the  labor  must  have  been  to 
prepare  it  for  publication. 

It  was  published  by  subscription,  at  three  dollars  a  copy ;  but 
the  expense  of  the  book  wa.^  such  that  its  circulation  was  very 
limited,  beyond  the  subscription  list.  It  was  published  on  the  pre- 
sumption that  choirs  were,  or  would  be,  s6  well  versed  in  reading 
music,  that  they  could,  when  any  psalm  or  hymn  was  given  out, 
sing  the  tune  on  the  same  page ;  but  the  public  were  not  prepared 
for  it ;  still,  for  his  labor,  perseverance,  and  extensive  collection  of 
tunes,  he  deserves  much  praise.  He  died  at  Concord,  N.  H.,  about 
fifteen  years  since ;  but  while  the  tunes  of  Arnheim,  Mentz,  and 
many  othere  of  like  character,  which  he  composed,  are  known,  his 
name  will  also  live. 

He,  in  connection  with  Hans  Gram  and  Holden,  published  a 
book  called  the  "  Massachusetts  Compiler."  The  music  was  col- 
lected fix)m  European  publications,  except  one  tune  from,  each  of 
the  compilers. 

Jacob  Kimball  was  a  native  of  Topsfield,  Mass. ;  a  man  of 
superior  talents,  when  young ;  a  lawyer  by  profession,  but  being 


64  BaOGRESS   OF   MUSIC   IN   AMERICA. 

ardently  fond  of  music,  he  neglected  law,  and  for  many  years  made 
music  his  profession.  lie  published  a  book  of  original  music,  called 
"  Rural  Harmony."  in  1793.  He  taught  and  introduced  his  music 
in  different  places  in  New  England,  with  great  acceptance  ;  had  a 
splendid  voice,  enthusiastic  in  his  performance,  was  a  popular 
teacher ;  and  when  we  are  told  that  he  died  in  the  alms-house,  the 
reasons  for  this  change  need  not  be  mentioned. 

Read,  whose  name  is  associated  with  Windham,  Lisbon,  Victory, 
and  others,  is  said  to  have  been  a  native  of  New  Haven,  Conn. ; 
was  a  popular  teacher  and  a  worthy  man,  and  his  tunes  speak  for 
his  musical  talent. 

French,  was  a  respectable  teacher ;  resided  in  Stoughton,  Mass. ; 
composed  a  quantity  of  music,  some  very  pleasing.  Among  other 
anthems,  was  one  called  "  Farewell  Anthem,"  —  words,  "  My 
friends,  I  am  going  a  long  and  tedious  journey,"  and  which  were 
admired  by  many,  at  that  day ;  but  few,  if  any,  of  his  tunes,  how- 
ever, have  survived,  and  had  a  place  in  modern  collections. 

Swan,  the  author  of  '*  Poland"  and  "  China,"  that  have  ever  since 
had  a  place  before  the  public,  was  a  native  of  Northfield,  Mass. ; 
spent  part  of  his  life  in  Vermont ;  published  a  book  of  original 
music  in  1802.  His  tunes  were  remarkable  for  originality,  as 
well  as  singularity ;  —  unlike  any  other  melodies.  The  two 
tunes  mentioned  —  the  former  of  which  had  the  words,  "God  of 
my  life,  look  gently  down,"  and  the  latter,  "  Why  do  we  mourn," 
&c.  —  obtained  considerable  favor  through  the  country.  These 
tunes,  having  been  tortured  and  altered  by  some  editors,  so  that  an 
old  acquaintance  would  hardly  recognize  them,  have,  however, 
within  a  few  years,  been  published  nearly  in  their  original  dress. 
Nature  had  evidently  done  much  to  fit  him  for  an  eminent 
musician.     He  died  respected  by  all. 

John  Hubbard.  —  We  are  now  about  to  speak  of  one  who  was 
known  only  in  a  limited  circle  as  a  musical  character;  but  it  fro- 


PROGRESS    OF    MUSIC    IN   AMERICA.  65 

quently  happens  that  the  most  profound  knowledge  is  found  among 
those  wlio  have  neither  opportunity  nor  inclination  to  make  a  noise 
in  the  world. 

We  take  the  liberty  of  mentioning  liis  name,  not  as  a  voluminous 
author,  but  as  a  man  of  superior  talent,  knowledge  and  taste,  in 
the  science  of  music ;  and  at  the  time  he  lived,  about  the  close  of 
the  last  century,  had  in  his  possession  more  means  for  acquiring  a 
nmsical  education  than  any  other  man  in  America,  having  more 
English  publications  and  treatises  on  the  si|||lce  of  music  than  any 
other  individual,  many  of  which  are  now  to  be  found  in  the 
library  of  the  "  Handel  Society  "  of  Dartmouth  College.  Of  some 
of  them  the  like  gannot  \yo  found  elsewhere.  His  avocations  were 
'^ach  as  to  prevent  him  from  taking  an  active  part  in  the  musical 

orld.  In  early  active  life,  after  acquiring  a  liberal  education,  he 
was  preceptor  of  an  academy  at  New  Ipswich,  X.  II.,  and  after- 
wards judge  of  probate,  Cheshire  county,  N.  II. ;  then  appointed 
professor  of  mathematics,  in  Dartmouth  College.  He  made  a  selec- 
tion of  anthems  and  select  masic,  from  European  authors,"  for  the 
purpose  of  publishing  them ;  but  God  saw  fit  to  take  him  to  him- 
self, in  the  prime  of  life,  to  sing  anthems  on  high.  His  death  was 
a  grief  and  disappointment  to  lovers  of  music.  A  short  time 
before  his  death,  he  delivered  an  address  before  the  Middlesex 
Musical  Society,  at  Dunstable,  N.  H.,  in  1807,  —  which  society  we 
shall  have  occasion  to  notice  hereafter,  —  which  was  published,  and 
called  "  Hubbard's  Essay  on  Music,"  and  was  at  the  time  considered 
a  masterly  production,  making  plain,  through  the  whole,  his 
superior  taste  and  knowledge  of  sacred  music.  It  would  be  read 
with  interest  and  profit  at  the  present  day,  were  it  republished. 

The  collection  of  anthems  which  he  had  prepared  in  manuscript 
was  published  by  the  Middlasox  Society,  after  his  death,  for  the 
benefit  of  his  family,  and  called  "  Hubbard's  Anthems."  This 
collection  was  at  the  time  considered  the  best  in  the  country,  and 
was  extensively  used,  for  many  years,  by  singing  societies  in  New 
England.  In  this  collection  there  was  one  anthem  of  his  own 
composition,  the  words  of  which  were,  •'  Thy  mercy,  0  Lord,  is  in 
0^ 


66  PROGRESS  OF   MUSIC   IN   AMERICA. 

the  heavens."  Tlie  music  and  words  speak  the  man,  breathing  the 
spirit  of  devotion.  Although  this  anthem  is  the  only  music  of  his 
that  has  been  printed,  to  our  knowledge,  we  know  it  was  not  all 
he  wrote ;  but  his  was  not  of  a  character  to  be  received  at  that 
time,  even  if  it  had  been  presented  to  the  public,  differing  from  the 
popular  music  of  the  day.  We  well  remember  when,  about  the 
commencement  of  the  present  century,  he  used  to  ask  two  boys, 
with  soprano  voices,  who  had  acquired  the  art  of  reading  notes,  to 
meet  him  in  his  study,  and  request  us  to  sing  music  in  manuscript. 
We  wondered,  at  the  time,  why  he  should  write  S2cch  tunes,  being 
unlike  the  music  we  had  been  accustomed  to  sing ;  but,  notwith- 
standing, it  gave  a  peculiar  sensation,  which  will  never  be  forgot- 
ten ;  and  the  more  so,  as  it  seemed  to  delight  and  gratify  him  so 
much ;  for,  as  he  used  to  lead  us  with  his  voice  and  violoncello, 
singing  one  part,  and  we,  two  others,  when  we  mounted  the  high 
notes,  well  do  we  remember  how  he  shook  his  sides  with  laughter, 
so  as,  many  times,  to  prevent  his  singing.  Some  passages  and 
tunes  sound  in  memory's  ears  still,  distant,  but  sweetly.  How 
gladly  would  we  sing  the  same  tunes  again,  with  our  grum  voice 
of  age,  had  we  an  opportunity!  , 

Button,  who  was  preparing  for  the  ministry,  in  connection  with 
Mr.  Ives,  published  a  book  of  church  music,  in  Hartford,  called 
the  "  Hartford  Collection,"  in  which  were  many  tunes  of  his  own 
composition.  His  skill  and  taste  were  of  the  most  promising 
order,  and  the  tune  of  Woodstock,  with  the  words  "  I  love  to  steal 
a  while  away,"  will  be  associated  with  his  name,  and  handed  down 
to  future  ages,  au'l  be  sung  by  many  on  earth,  while  he  is  singing 
the  song  of  Moses  and  the  Lauib  in  heaven. 

Oliver  Siiaw\  —  The  name  of  Oliver  Shaw  is  a  household 
word  in  every  family  where  music  is  heard.  A  minute  account  of 
his  life  would  be  read  with  thrilling  interest,  did  our  limits  permit ; 
but  we  forbear,  as  we  have  reason  to  believe  that  a  biography  of 
his  life  will  be  soon  published  in  a  volume. 


PROGRESS   OF   MUSIC    IN    AMERICA.  67 

"We  cannot,  however,  refrain  from  giving  a  sketch  of  the  man,  in 
connection  with  others  who  have  taken  an  active  part  among 
American  teachers  and  authors. 

He  was  a  native  of  Middleboro',  Mass.,  bom  1779,  lost  one  eye 
when  quite  young,  spent  several  years  with  his  father  at  sea,  and, 
in  taking  nautical  observations,  injured  and  lost  the  sight  of  his 
other  eye,  and  total  blindness  followed. 

In  this  pitiful  situation,  "  What  shall  I  do,  in  this  doubly  dark 
world  ? "  was  the  all-ubsorbing  question.  Music  was  the  prominent 
answer.  He  was  first  placed  under  the  instruction  of  an  eminent 
teacher,  in  Newport,  R.  I.,  Dr.  Drinkcrhead,  where  he  spent  two 
ycai-s.  As  day  and  night  were  lx)th  the  same  to  him,  consequently 
he  had  nothing  to  divert  his  mind  by  the  sight  of  the  eye,  which, 
added  to  an  intense  love  of  music,  combined  to  strengthen  and 
brighten  his  imagination,  so  that,  as  might  be  expected,  he  made 
rapid  strides  both  in  the  theory  and  practice  of  music.  He  after- 
wards spent  two  years  with  Professor  Graupner,  of  Boston,  to  per- 
fect himself  on  the  piano  and  organ,  and  Mr.  Granger,  to  learn 
the  use  of  wind  instruments.  He  commenced  teaching  in  Dcdham, 
Mass. ;  then  in  Providence,  R.  I.,  where  he  spent  the  remainder  of 
his  life.  He  was  a  faithful  and  successful  teacher,  had  pupils  fi-om 
many  other  towns  and  states,  besides  going  from  house  to  house, 
led  by  some  friendly  hand.  By  his  amiable  deportment,  he  was 
always  received  as  a  friend  and  teacher  with  cordiality. 

In  some  of  the  last  years  of  his  life,  we  have  seen  him,  with 
feeble  health  and  tottering  frame,  hurrying  from  house  to  house,  to' 
teach  what  had  become  a  part  of  his  life;  till,  at  the  close  of  tlic 
year  1848,  he  closed  his  labors,  on  earth. 

In  connection  with  a  iMr.  Noyes,  he  taught  many  singing- 
schools,  with  good  success ;  presided  over  several  singing  societies ; 
was  the  first  to  import  the  works  of  Haydn.  His  musical  com- 
positions were  truly  original.  His  song,  "  There  's  nothing  true  but 
Heaven,"  to  use  the  language  of  another,  "broke  upon  the  musical 
world  like  strains  from  another  world,  the  copy-right  of  which  he 
sold   for  fifteen   hundred   dollars.     It  was   repeated  night  after 


68  PROGRESS   OP   MUSIC    IN  AMERICA. 

night  at  the  Boston  Handel  and  Haydn  Society.  Other  songs, 
duets, — such  as  "  31ary's  Tears,"  "Arrayed  in  Clouds,"  &c., 
together  with  "  Christmas  Ode,"  —  and  a  multitude  of  other  pieces, 
sacred  and  secular,  marches  and  piano-music,  have  been  commended 
by  their  use,  so  that  they  need  no  praise  from  the  pen.  On  the 
last  day  of  the  year,  and  nearly  the  last  hour  of  the  day,  he  left 
the  darkness  of  earth ;  and  from  the  evidence  of  a  long  life  of 
piety,  we  venture  nothing  in  saying  that  the  light  of  eternal  day 
broke  in  upon  him,  and  the  words  which  he  and  others  so  often 
sang  here  on  earth  he  has  realized  from  that  moment,  —  that 
"  There 's  nothing  true  but  heaven." 

E.  L.  "White  acquired  considerable  celebrity,  both  as  a  teacher 
and  author.     He  closed  his  labors  on  earth,  in  Boston,  in  1851. 

White  was  a  native  of  Newburyport,  Mass. ;  a  man  of  more  than 
ordinary  musical  talents ;  commenced  teaching  in  New  Bedford ; 
then  in  Boston,  where  his  labors  were  incessant  as  a  teacher, 
writer,  and  publisher  of  music,  sacred  and  secular.  He  was  cut 
down  in  the  midst  of  life  and  usefulness,  and  the  hands  that  used 
to  move  the  keys  of  the  organ  and  piano  so  gracefully  are  stilled 
and  mouldering  in  the  grave. 

We  have  not  the  least  disposition,  even  if  we  had  space  and 
talent,  to  discuss  the  relative  merits  of  modern  American  authors 
now  living.  What  little  we  have  said  has  been  of  those  who  have 
l^ished  their  labors  here  on  earth.  We  suppose  the  compara- 
tive merits  and  exertions  of  those  now  living,  —  whose  works  have 
been,  and  are  now,  before  the  public,  —  to  effect  the  marked 
improvement  in  sacred  music,  will  not  be  rightly  and  fully  appre- 
ciated until  the  grave  covers  party  feelings  and  prejudices.  Tlicy 
will,  however,  form  an  important  item  in  the  history  of  church 
music. 

The  foregoing  names  we  mention  as  being  prominent  members 
of  the  musical  world,  and  many  of  them  were  all  the  while  waiting 
for  a  favorable  time  to  bring  about  a  reformation  of  church  music, 


% 


PROGRESS    OF    MUSIC    IN    AMERICA.  by 

loathing  that  whicli  was  calculated  to  divert  rather  than  direct  the 
mind  to  anything  like  the  worship  of  God.  The  same  kind  of 
music,  however,  generally  prevailed  in  the  churches  till  about  the 
year  1806,  of  which  era  we  shall  endeavor  to  tront  in  the  next 
chapter.  Societies  and  associations  began  to  be  formed  soon  after 
the  present  century,  for  the  purpose  of  reviving  ancient  music,  a 
more  particular  account  of  which  will  be  given  under  the  head  of 
Societies. 

SALEM    AND    MIDDLESEX    SOCIETIES.  INSTRUMENTAL. 

The  most  decided  and  efficient  exertions  by  prominent  singers 
commenced  in  Salem,  Mass.,  and  vicinity,  led  by  Rev.  Dr.  Worces- 
ter, and  in  the  western  part  of  the  county  of  Middlesex,  in  and  about 
Groton,  with  the  venerable  Dr.  Chaplin  at  their  head,  extending 
to  several  towns  in  New  Hampshire.  Clergymen  and  other  profes- 
sional men  taking  an  active  part,  made  the  associations  appear 
rather  formidable ;  and  no  wonder  that  the  whole  movement  was 
denoiipced  as  aristocratic,  by  those  who  had  previously  managed 
the  public  singing ;  and  as  most  of  the  members,  when  they  came 
together,  were  found  to  be  of  a  political  party  called  Federalists, 
their  meetings  were  pronounced  by  many  as  a  political  combina- 
tion. 

The  Salem  and  Middlesex  societies  were  put  in  operation  about 
the  same  time.  New  England  books  and  shelves  were  ransacked, 
and  every  piece  and  i)arcel  of  old  music-books  was  brought 
forward  at  their  meetings.  Psalm-tunes  and  anthems  were 
selected  for  every  subsecjuent  meeting,  that  all  might  provide 
themselves  with  copies,  either  printed  or  in  manuscript.  Finding 
the  inconvenience  of  accomplishing  their  object  without  a  selec- 
tion and  publication  of  such  music  as  they  desired  to  practise  and 
recommend,  each  society,  about  the  same  time,  set  alx)ut  the  work 
of  collecting  and  publishing  desirable  music,  and  chose  committees 
for  that  purpose. 


70  PROGRESS  OF   MUSIC    IN   AMERICA. 


PUBLISHED    MUSIC. 


The  books  were  printed,  the  former  under  the  agency  of  Eev. 
Dr.  Worcester,  of  Salem ;  the  latter,  under  that  of  Kev.  David 
Palmer,  of  Townsend.  The  tunes  in  both  publications  were  printed 
with  similar  tunes  in  a  long,  narrow  book,  with  but  four  parts,  or 
one  brace  on  a  page,  containing  only  one  common  psalm-tune, 
about  one  hundred  and  twenty  in  number.  Soon  after,  a  similar 
collection  was  published  by  Amos  Albee,  of  Mcdfield,  Mass.,  called 
the  Norfolk  Collection.  The  books  were  a  convenience  and  grati- 
fication to  the  lovers  of  devotional  music,  but  were  looked  upon  as 
subversive  to  the  general  tide  of  singing,  and  treated  with  con- 
tempt by  many.  About  the  year  1804,  when  individuals  first 
convened  for  the  purpose  of  devising  the  best  means  of  effecting  a 
change,  it  was  at  first  the  prevailing  opinion  that- it  would  be  best 
to  retain  some  of  the  most  acceptable  tunes  of  American  comjx)si- 
tions.  But  when  the  question  came  to  be  canvassed  and  decided, 
which  and  lohat  tunes  should  be  the  favored  ones,  opinions  clashed  ; 
every  one  had  his  favorite  tune  or.  author,  so  that  they  dM  not 
adopt  the  measures  that  temperance  societies  in  this  country  tried, 
by  cutting  off  the  stream  of  alcohol,  and  letting  that  of  wine  run 
on ;  but  cut  off  and  discarded  all  American  compositions  at  once.  It 
was  a  startling  move,  and  many  of  those  in  favor  of  a  change  of 
music  in  the  churches  feared  the  consequence ;  but  it  was  done, 
and  public  opinion  sustained  the  movement.  And  the  books  with 
such  tunes  as  Old  Hundred,  Mcar,  St.  David's,  and  kindred  names, 
stared  the  singer  in  the  face  from  every  page. 

CLASHING  OF  OLD  AND  NEW  SCHOOLS,  OR  BOOKS. 

Then  came  the  struggle  between  the  "  Old  Hundred  "  singers, 
as  they  were  called,  and  those  who  had  never  sung  anything  but 
modern  music.  And  they  were  determined  to  hold  on  and  hold 
out  with  the  music  which  had  so  long  and  successfully  conflicted 
with  devotion  and  solemnity.  And  when  schools  were  raised  for 
the  purpose  of  using  the  books  jiL«it  pul)lished,  opposition  schools,  in 


rROGRESS    OF  MUSIC    IN    AMiiRICA.  71 

many  instances  in  the  same  neighborhood,  would  be  immediately 
put  iu  operation,  sometimes  Avithin  hearing  of  each  other.  But  the 
weight  of  character  and  singing  ta,lent  in  most  of  the  towns  was 
enlisted  on  the  side  of  the  former,  till  one  singing  choir  after 
another  came  into  the  ranks  of  the  reformers. 

Soon  societies,  associations  and  choirs,  were  formed  in  different 
cities  and  towns,  with  objects  similar  to  those  of  Middlesex  and 
Salem,  and  shortly  the  influence  sprqad  through  New  England, 
and  since  that  time  has  been  spreading  through  the  country ; 
although  it  is  found  that  music  of  a  light  character  gains  the  first 
residence  in  new  settlements,  even  at  the  present  day. 

CONTENTION    IN   CHOIRS. 

In  some  places,  at  the  commencement  of  the  change  of  music, 

singers  in  towns  and  churches  were  so  equally  divided  that  the 

struggle  was  long  and  tedious,  to  decide  which  should  carry  on  the 

singing  in  the  church  ;  where  neither  party,  in  fact,  were  strong 

,   enough  to  sustain  it  acceptably ;  so  they  had  to  compromise,  and 

I   in   some  instances    sing  al^rnately  their   favorite  tunes  on  the 

Sabbath.     But   the   effect   of   this   was    sad;    each  would  sing 

'  from  his  own  book  with  energy,  while  the   opposers  would  sing 

with  indifference,  and  destroy  the  effect.     This  state  of  things 

could  not  prevail  long,  for  "a  house  divided  against  itself  cannot 

stand." 

DIFFERENCE    OF   TASTE. 

But  there  were  then,  as  now,  itching  cars,  that  choose  the  jingle 
j  of  music  rather  than  the  harmony ;  for  we  find  here  and  there,  in 
modern  publications,  tunes  somewhat  of  the  character  of  Billings 
&  Co.  Although  constructed  more  systematically,  still  the  words 
are  sometimes  clashing ;  and  whenever  and  wherever  you  go  to 
church,  and  hear  these  tunes  sung,  they  are  apparently  listened  to 
and  sung  by  some  with  admiration ;  and  sometimes  we  are  even 
saluted  with  the  real  "  Simon-pure,"  such  as  Lenox,  Northfield, 
&c.,  of  the  propriety  of  which  we  leave  for  others  to  judge. 


72  PROGRESS   OF  MUSIC    IN    AMERICA. 


IGNORANCE   OF    THE    SCIENCE   OF    MUSIC. 

At  the  time  these  books  of  ancient  music  were  published,  no  one 
was  considered  competent  to  make  any  corroctions,  except  where,  by 
copying,  printing  and  reprinting,  palpable  and  gross  errors  were 
perceptible.^  Therefore  tunes  were  taken  as  they  were  found,  and 
so  published,  and  this  was  probably  the  most  judicious  course ;  for 
the  oldest  and  most  experienced  dared  not  expose  their  ignorance 
by  attempting  to  correct  errors.  To  show  how  little  was  known 
by  the  wisest,  we  will  just  mention  that  a  committee  for  publish- 
ing one  of  the  books  saw  fit  to  introduce  one  tune  from  a  recent 
English  publication,  with  the  figures  of  the  harmony  attached ; 
and  when  one  of  their  number  was  asked  the  use  of  these  figures, 
he  honestly  answered  he  "did  not  know,"  but  they  mea,nt  to  make 
the  public  believe  they  knew  something. 

NEW   ERA    IN    MUSICAL    PUBLICATIONS. 

From  this  time,  publications  that  had  been  used  in  schools,  such 
as  Village  Harmony,  Bridgcwater  a n(^  Worcester  Collection,  and 
soon  many  others,  perceiving  the  change  of  public  sentiment,  wisely, 
either  from  inclination  or  approbation  or  interest,  began  to 
expunge  some  of  the  trash  on  their  pages,  and  substitute  ancient 
tunes  in  their  stead.  Formerly,  the  pages  of  their  books  pre- 
sented but  few  notes  except  with  Hack  faces,  and  white  ones 
were  treated  with  neglect  and  unworthy  of  notice,  unlike  the  order 
of  things  at  the  present  day  in  society. 

As  the  American  music  had  been  discarded  en  masse,  it  seemed 
no  more  tlian  justice  that  those  who  had  pronounced  it  worthless 
should  give  their  reasons;  for  it  is  too  common  for  those  who 
condemn  the  works  of  others  to  be  still  more  ignorant  themselves, 
being  unable  to  tell  a  better  way.  All  this  opposition  and  compe- 
tition had  a  tendency  to  turn  the  attention  of  many  worthy  men  to 
investigate  the  science  of  music.  Among  the  first  were  31itchcll, 
Brown,  Shaw,  Hastings,  Mason,  Holt,  and  others.  Alterations  and 
corrections  in  old  tunes  were  found  necessary ;  and  the  public  were  , 


t 


rnOGKESS    OF    MUSIC    IN    AMERICA.  73 

satisfied  :uid  reconciled  to  the  inconvenience  of  the  first  corrcctioa'^. 
But  when  in  the  editions,  one  after  another,  were  found  corrections 
corrected,  and  the  singing  community  obliged  to  purchase  a  new 
book  every  year,  this,  to  say  the  least,  was  vexatious  and  myste- 
rious to  some,  e.^ix;cial]y  when  a  tune  was  altered  several  times, 
and  then  published  as  it  stood  originally.  It  was  difficult  to  keep 
the  public  reconciled  ;  and  the  important  question,  when  will  these 
authors  satisfy  themselves,  was  difficult  to  be  answered. 

ADVANCE    OF    THE    SCIENCE. 

Now  these  scenes  have  passed  by,  and,  suffice  it  to  say,  that  from 
the  commencement  of  the  labors  of  the  many  authors  who  have 
made  themselves  eminent,  the  theory  and  practice  of  music  has 
been  advancing  witli  rapid  strides.  At  first  they  used  to 
criticize  each  other  in  regard  to  the  rights  and  wrongs  of  har- 
mony ;  but  that  time  has  also  passed,  and  books  have  multiplied  so 
rapidly  that  authors  have  no  time  to  look  after  each  other ;  and  if 
we  cannot  say  the  world  cannot  contain  the  books,  we  can  safely 
say  that  schools  and  singers'  galleries  can  scarcely  convene  them. 

TEACHERS. 

IciiADOD  Johnson  was,  we  think,  a  native  of  Woburn ;  was  a 
fifer  in  the  Revolutionary  army,  and  about  the  commencement  of 
the  present  century,  and  many  years  after,  was  rather  celebrated 
as  a  teacher  of  vocal  and  instrumental  music.  He  could  hardly 
be  said  to  have  any  voice  for  singing,  but  had  a  wonderful  faculty 
of  enlisting  young  and  olil  in  his  service ;  and  when  he  commenced 
a  school,  by  the  assistance  of  his  violin,  with  his  forced  voice,  and 
the  voluntary  services  of  old  singers,  he  scarcely  ever  failed  in 
advancing  a  school  rapidly.  The  nmsic  he  taught  was  not  of  the 
most  inferior  kind,  lie  taught  to  play  on  instruments,  both  wind 
and  stringed,  in  many  towns  in  New  England,  very  successfully, 
and  was  very  celebrated  as  a  teacher  and  conductor  of  bands  of 
martial  music. 

Joseph  Bailey  was  a  graduate  of  Dartmouth  College,  and  was 


74  PKOGRESS   OF  MUSIC    IN    AMERICA. 

a  teacher  in  Boston  about  1820.  He  commenced  teaching  music- 
schools  in  evenings.  He  was  justly  considered  one  of  the  best 
teachers  of  sacred  vocal  music  then  known.  He  was  thorough 
and  faithful  in  teacliing  both  the  theory  and  practice  of  the  art, 
and  by  his  perseverance  and  correct  example  did  very  much  to 
promote  and  establish  correct  time,  intonation  and  general  im- 
provement, in  schools  and  choire.  Removed  to  New  York,  where 
he  died. 

Many  others,  about  the  same  time,  taught  with  good  success, 
and  deserve  and  will  have  a  place  in  the  memory  of  the  lovers  of 
sacred  music  generally,  while  they  will  be  remembered  with  favor 
and  affection  by  thousands  of  their  pupils.  Among  others,  we 
would  name  Mann,  Shaw,  Col.  Newhall  and  brother,  Bartlett, 
Claggett,  who  taught  in  Salem,  Portsmouth  and  Maine ;  Perry,  of 
Worcester ;  Col.  Warriner,  of  Springfield  ;  Moore,  of  Concord,  N. 
H. ;  Marcus  Colburn,  a  few  years  later,  whose  fame  both  as  a 
teacher  and  public  performer  is  known  through  the  country.  If 
I  proceed  any  further,  or  rather  to  the  next  generation  of  teachers, 
hundreds  present  themselves  with  equal  claims,  many  of  them 
hailing  under  the  banner  of  "  Boston  Academy,"  —  some  truly 
worthy,  —  others  doubtful. 

Among  the  earliest  stands  the  name  of  Elnathan  Duren.  Tlie 
singing  of  the  choir  at  the  dedication  of  Park-street  Church,  in 
1812,  and  on  the  Sabbath  and  other  public  occasions  for  many 
years,  will  be  among  the  last  things  forgotten  by  those  who  were 
performers  or  hearers.  Although  the  preaching  by  Dr.  Griffin, 
pastor  of  the  church  at  the  time,  was  not  exactly  in  accordance 
with  the  public  taste  and  opinion  of  the  day,  still  his  superior 
oratory,  and  perhaps  still  more  the  excellence  of  the  music,  in 
comparison  with  that  of  other  choirs  in  those  days,  drew  there 
great  multitudes  from  all  denominations,  besides  being  a  resort  for 
all  strangers  who  visited  Boston.  There  was  an  exactness  of  time, 
correctness  in  tone,  a  power  and  expression  given  to  words,  as  well 
as  music,  such  as  had  never  been  heard  before.  Many  of  those 
now  living,  who  took  an  active  part  in  its  performance,  start  and 


PROGRESS   OF  MUSIC   IN   AMERICA.  75 

awaken  like  an  old  soldier  at  the  sound  of  martial  music,  when 
the  singing  of  those  days  is  mentioned.  This  choir  was  an 
important  nucleus  to  the  Handel  and  Haydn  Society  at  its  forma- 
tion, and  took  a  prominent  part  'in  its  performances.  Mr. 
Duren  did  not  engage  as  a  teacher  of  schools  till  about  1825, 
and  his  labors  were  principally  confined  to  the  western  part  of 
New  Hampshire  and  the  eastern  part  of  Vermont.  Delicacy  would 
dictate  silence,  on  our  part,  respecting  one  so  nearly  related,  had  it 
not  been  urged  and  insisted  upon  by  others,  to  speak  of  him  in 
connection  with  other  teachers.  Nothing  is  hazarded  in  saying 
what  thousands  have  said,  —  that  for  native  and  acquired  musical 
talent,  skill  in  communicating  to  others  the  theory  and  practice 
of  music,  power  and  sweetness  of  voice,  energy  of  expression, 
and  the  art  of  instilling  the  same  into  his  pupils,  together  with 
the  power  of  moving  a  school  or  choir,  at  his  will,  with  pre- 
cision, were  talents  united  in  him  which  few  ever  possessed,  or 
even  acquired.  He  was  a  surpassingly  good  reader,  his  concep- 
tions of  the  meaning  of  an  author  were  just,  his  enunciation  per- 
fect, and  the  whole  was  uttered  in  the  most  melodious  tones,  with 
an  expression  of  countenance  which  told  that  his  whole  soul  was 
absorbed  in  his  performance.  This  talent  assisted  him  much  to 
instil  expression,  as  a  teacher  of  music. 


CHAPTER  V. 

ESTABLISHIMENT  OF  SCHOOLS. 

Description  of  Schools  before  Billings.  —  Eflfect  of  Billings'  Music  and  Schools. 
—  Rudiments  of  Music.  —  Teachers.  —  Formation  of  Schools.  —  Subscription 
for  Schools.  —  Location.  —  Inconveniences.  —  Results. 

After  giving  an  account  of  the  principal  music-books  that  have 
n.ade  their  appwiranee  before  the  American  public,  it  seems  proper 
to  notice  the  use  that  has  been  made  of  them,  particularly  iu 
schools  and  churches.  If  it  should  seem  that  the  description  of 
schools  and  teaching  was  intended  as  ridicule  or  burlesque,  we  dis- 
claim anything  of  the  kind.  AVe  wish  only  to  present  and  pre- 
serve this  portion  of  the  history  of  past  times,  so  that  the  present 
and  after  generations  may  know  and  realize  how  great  and  multi- 
plied their  means  and  privileges  are,  compared  with  those  of  for- 
mer generations ;  and  inquire  whether,  with  these  additional 
privileges,  they  have  made  corresponding  improvements. 

LIMITED    MEANS. 

The  facilities  then  available  were  very  few,  and  it  may  be  that, 
fifty  years  hence,  if  some  one  should  continue  this  simple  history 
of  the  progress  of  music,  our  present  practices,  in  some  instances, 
may  appear  as  inconsistent  and  strange  as  the  account  we  now  give 
of  by -gone  days. 

These  limited  means  were  not  peculiar  to  instruction  in  singing. 
In  schools  for  common  etlucation,  similar  scenes  and  inconve- 
niences were  experienced.  We  know  it,  for  we  have  had  experience 
in  both ;  and  a  picture  of  common  schools  in  past  times  luis  been 
beautifully  delineated  in  a  work  by  the  llev.  Mr.  Burton,  called 
the  "  District  School  as  it  Was." 


ESTABLISHMENT   OF   SCHOOLS.  77 

SCHOOLS    BEFORE    BILLINGS. 

In  regard  to  singing-schools  previous  to  1770,  tradition  says, 
that  meetings  of  either  young  or  old,  for  the  purpose  of  learning 
the  theory  or  practice  of  music,  were  scarcely  known ;  and  that 
even  the  meeting  together  of  neighbors,  for  the  purpose  of  learn- 
ing to  sing  the  tunes  then  in  use  systematically,  was  opposed  by 
many  as  time  foolishly  occupied,  and  by  others  as  being  morally 
wrong,  and  even  wicked.  It  is,  however,  evident,  that,  from  1720 
onward,  singers,  few  in  number,  did  meet  occasionallj'',  in  some 
towns,  for  the  purpose  of  improvement.  The  principal  object  ap- 
pears to  have  been  to  learn  to  sing  by  note,  or  rather  by  letter ;  for 
it  was  to  them  a  new  and  mysterious  art,  so  much  so  that  when  it 
was  first  rumored  that  a  man  had,  by  his  superior  skill  and  appli- 
cation, acquired  the  art  of  giving  sounds  to  given  notes,  so  as  to 
sing  a  tune  that  he  had  never  heard,  he  was  looked  upon  with 
astonishment,  and  reckoned  by  some  as  participating  in  the  witch- 
craft of  the  day. 

EFFECT   OF    BTLLINGS'    MUSIC   AND    SCHOOLS. 

When  Billings  came  upon  the  stage,  with  his  fascinating  music, 
and  could  not  only  read  old  music,  but  had  actually  made  new 
tunes,  the  musical  community  was  in  commotion,  and  filled  with 
admiration  and  surprise.  A  new  era  commenced  in  the  American 
singing  world ;  and  at  the  bidding,  or  even  suggestion,  of  this  won- 
derful man,  schools  were  collected  in  and  alx)ut  Boston  ;  and  at  his 
rehearsals  his  room  was  crowded,  inside  and  out,  with  listeners, 
like  the  hearers  of  Jenny  Lind,  or  the  Germania  Band ;  and  he 
could  not  possibly  make  them  desist,  except  by  promises  to  sing 
publicly,  in  some  church,  and  give  them  a  chance  to  hear. 

RUDIMENTS    OF    MUSIC. 

Of  the  rudiments  of  music,  as  we  find  them  in  the  books  of  that 
day,  nothing  more  was  taught  or  learned  than  the  simple  charac- 
ters used  in  writing  music,  and  the  notes  and  letters,  as  applied  to 
the  lines  and  spaces  of  the  staff.     The  iiavies  of  the  notes,  as  ap- 
7* 


78  ESTABLISHMENT   OF   SCHOOLS. 

plied  to  the  octave,  were,  in  order,  — fa  sol  la  fa  sol  la  mi,  —  mi 
being  called  the  governing  note ;  and  this  note,  with  others  stationed 
above  and  below  it,  were  removed  by  flats  and  sharps.  These  sub- 
jects, added  to  that  of  "  keeping  or  beating  time,"  were  sufficient, 
at  the  time,  for  all  practical  purposes. 

Soon,  others  aspired  to  gain  his  popularity  and  exert  his  influ- 
ence ;  so  that,  all  along,  till  near  1800,  we  find  teachers,  particu- 
larly the  authors  of  the  books  we  have  mentioned,  scattered  over 
New  England,  and  some  of  the  cities  in  the  Southern  States,  labor- 
ing either  to  promote  music  by  teaching  the  tunes  to  others,  or  to 
recommend  and  make  sale  of  their  own  works. 


SCHOOLS   FROM   1770   TO   1800. 

In  the  following  account  of  schools,  we  have  particular  reference 
to  the  time  we  have  designated  as  "  the  dark  age,"  namely,  from 
1770  till  about  1806;  but  we  cannot  be  particular  in  regard  to 
dates,  for  light  on  the  subject  broke  out  in  difierent  places  and 
states  at  difierent  periods ;  and  we  presume  there  are  still  many 
dark  spots,  in  regard  to  the  character  and  practice  of  sacred  music, 
in  this  broad  land. 

OBJECT   OF    SCHOOLS. 

It  is  not  for  us  to  define  the  motives  which  usually  led  to  the 
formation  of  singing-schools.  We  are  aware  that  classing  them 
with  amusements  seems  rather  extravagant ;  but  we  have  reason  to 
fear,  from  the  kind  of  music  practised,  and  the  demeanor  at  the 
schools,  that  they  could  be  considered  as  little  else. 

The  talent  of  singing,  we  have  said,  is  given  by  God  to  be 
improved  ;  and  in  this,  as  every  other  duty,  there  is  a  pleasure 
and  satisfaction  in  performing.  A  singing-school,  collectively, 
unless  frequently  and  affectionately  reminded  by  the  teacher  of  its 
object,  will  be  likely  to  seek  pleasure  and  amusement,  and  forget 
the  main  object  sought  by  the  patrons  of  the  school. 


ESTABLISHMENT   OP   SCHOOLS.  79 

FORMATION    OF   SCHOOLS. 

The  iLsual  method  of  parishes,  in  country  town?,  to  resuscitate  or 
sastain  singing,  has  been  by  establishing  schools  for  those  to  learn 
to  sing  who  had  what  were  called  "  natural  voices ;  "  and  as  a 
generation  of  singers  does  not  usually  continue  in  active  life  more 
than  three  or  four  years,  it  was  necessary,  in  most  instances,  to 
raise  and  support  a  school  as  often,  for  the  purpose  of  manufactur- 
ino;  new  singers. 

When  singing  began  to  decline,  or  had  become  insufferable  in 
the  churches,  after  a  few  preliminary  remarks,  by  the  minister, 
perhaps,  or  by  members  of  the  church  or  congregation  interested, 
or,  what  was  more  likely  than  all,  after  the  continued  persuasion 
of  some  of  the  children,  who  were  anxious  for  an  op}X)rtunity  of 
meeting  their  associates  frequently,  the  fathers  were  urged  to  assist 
in  providing  means  for  hiring  a  teacher.  As  singing  in  schools  or 
at  churches  was  a  sort  of  individual  or  private  education,  of  course 
the  raising  of  money  by  the  church  or  town,  as  such,  was  out  of 
the  question.  Individuals,  more  or  less,  would  meet  and  choose  a 
committee  to  present  a  subscription  paper,  which  was  the  only 
resort  for  raising  the  money  necessary  for  the  purpose.  We  will, 
for  a  moment,  follow  the  man  with  the  paper,  and  listen  to  some  of 
the  reasons  and  excuses  of  those  who  were  solicited  to  subscribe ; 
— some  of  them  true.  Before  starting  on  his  mission,  he  will  be 
careful  to  procure  the  names  of  some  of  the  principal  advocates,  as 
it  is  well  known  tliat  much  of  the  success  of  such  enterprises  de- 
pends on  a  right  beginning. 

SUBSCRIBERS    FOR    A    SCnOOL. 

The  paper  is  presented  to  some  one  who  has  means  and  influence, 
and  is,  of  course,  a  lover  of  music.  He  reads,  hesitates,  and  then 
says,  "  I  desire  to  have  good  singing,  and  should  be  willing  to  pay 
for  its  promotion,  were  it  not  that  singers,  after  they  have  learned, 
will  not  keep  together  in  church,  and  money  seems  to  be  lost." 
He  is  told,  perhaps,  that  none  would  be  permitted  to  attend  but 
such  as  woLdd  oblierate  themselves  to  sin2:  in  church.     He  sub- 


80  ESTABLISHMENT   OF   SCHOOLS. 

scribes.  He  then,  perhaps,  goes,  with  cautious  steps,  to  the  clergy- 
man, who  as  cautiously  remarks,  "  I  feel  the  effects  of  bad  singing, 
and  the  importance  of  that  part  of  worship  being  performed  ac- 
ceptably, to  prevent  the  people  from  leaving  the  church ;  but  sing- 
ers are  so  sensitive  that  I  wish  to  avoid  any  interference  with  their 
doings."  But,  after  being  reminded  of  the  importance  of  having 
his  name  to  the  paper,  by  way  of  examt  le,  he  subscribes.  The 
paper  is  then  presented  to  the  officers  of  the  church.  They,  with 
one  consent,  begin  to  make  excuses ;  the  most  prominent  one, 
perhaps,  is,  that  they  had  been  giving  all  their  lifetime,  and 
singing  was  no  better,  but  rather  worse ;  and  they  are  discouraged. 
But,  as  the  minister  has  subscribed,  they  will  give  something. 
He  then  meets  with  a  wealthy  individual,  who  "  cares  for  none  of 
these  things."  He  speaks  out,  what  perhaps  others  thought, 
namely,  that  "  if  any  one  wishes  to  learn  to  sing,  let  him  pay  for 
it.  What  use  will  it  be  to  me  ?  Neither  I  nor  my  family  can  sing. 
If  I  could  sing,  I  would  not  go  about  begging  for  others  to  pay  my 
tuition."  Another  says  "  he  has  no  inclination  to  encourage  a 
parcel  of  giddy  young  folks  to  sit  in  the  gallery  to  show  off  their 
skill,  which  is  apparently  all  they  care  for,  —  singing  over  tunes 
that  are  more  like  dancing  than  psalm  tunes.  I  had  rather  they 
would  sing  as  they  did  in  good  old  times,  when  one  man  got  up 
and  '  raised  the  tmie,'  in  a  pew  below,  and  all  joined  in  singing  as 
well  as  they  could."  He  now  commences  soliciting  the  aid  of  the 
"  old  singers,"  and  those  intending  to  learn.  One  of  the  former 
says  he  can  learn  tunes  without  going  to  school,  and  that  he  has 
paid  his  share  heretofore.  Besides,  if  he  has  been  leader  of  the 
choir,  he  secretly  thinks  he  ought  to  be  employed  as  teacher,  of 
which  he  is  not  sure.  Another,  that  he  has  learned  already,  and  if 
he  gives  his  time  to  promote  singing,  that  is  his  part.  Another, 
who  understands  the  usual  manoeuvres  of  new-organized  choirs,  — 
to  clear  out  the  old  singers  from  the  choir,  —  refuses  to  patronize  a 
new  school.  Another,  that  they  have  no  need  of  a  school,  —  that 
they  sing  well  enough  now.  Those  who  intend  to  be  benefited  by 
the  school  subscribe  niore  or  less,  but  are  not  to  be  compelled  to 


ESTABUSHMENT   OF   SCHOOLS.  81 

pay,  unless  they  succeed  in  learning.  Altogether  there  appears  to 
be  a  sum  subscribed  sufficient  to  authorize  preparations  for  a 
school.  A  meeting  is  called  for  the  subscribers  to  make  prepara- 
tions for  a  school. 

LOCATION   OF   SCHOOLS.  —  INSTRUCTORS. 

A  committee  is  chosen  for  that  purpasc.  Some  important  ques- 
tions then  arise,  by  way  of  inquiry,  in  regard  to  a  teacher^  and  where 
the  school  shall  be  held.  The  first  question  usually  caused  many 
serious  and  important  remarks.  As  teachers  of  regular  habits 
were  generally  engaged  a  year  in  advance,  the  question  was  not 
80  much  whether  this  or  that  man's  talents  were  good,  as  who  will 
be  likely  to  l)e  the  most  regular,  especially  in  school-hours ;  and  it 
Is  known  by  every  one  that  lived  forty  years  ago,  that  at  meetings 
for  the  transiiction  of  business  of  any  kind  a  S'pirit  was  enter- 
tained not  very  favorable  to  that  of  sacred  music,  and  that  none 
were  more  exposed  to  its  fatal  efiects  than  a  teacher  who  could 
sing  a  good  song  and  play  the  viol.  Common  civility  forbade  his 
refusing  the  common  beverage  of  the  day ;  and  by  that  means  he 
was  often  ruined  by  kindness.  Let  it  not  be  understood  that 
there  were  no  teachers  of  steady  habits ;  but  it  cannot  be  denied 
that  most  of  the  men  of  superior  musical  talent,  and  most  apt  to 
teach,  were  to  be  found  among  those  who  were  in  the  habit  of 
steeping  their  talents.  "We  once  knew  one  of  a  committee,  whose 
duty  it  was,  if  need  be,  to  carefully  dispose  of  the  teacher  when  he 
was  in  a  situation  to  disgrace  himself  and  the  school.  We  have  no 
knowledge  that  he  had  to  exercise  his  authority  more  than  once. 
Then  the  teacher  came  into  school,  and  immediately  requested 
the  school,  which  was  numerous  and  in  their  places,  to  sound  A ; 
they  obeyed,  he  continuing  to  draw  his  bow  back  and  forth  on  his 
viol,  muttering,  with  an  awful  scowl,  "  Keep  sounding  on 't !  "  That 
A  was  the  first  and  last  sounded,  that  evening ;  but  he  appeared 
again,  the  next  evening,  as  clear,  bold  and  bright,  as  though 
nothing  had  happened. 

The  next  important  question  was,  "  AVlierc  shall  the  school  be 


82  ESTABLISUMENT   OF    SCHOOLS. 

kept  ? "  Lecture-rooms  then  were  scarcely  known.  A  common 
school-hoase  was  too  dull  and  lonely  a  place.  A  hall  in  a  public 
house,  then  called  a  tavern,  of  which  more  or  less  were  to  be  found 
in  every  village,  was  the  only  place  to  meet  the  approbation  of  the 
majority.  Besides,  the  terms  for  the  use  of  the  hall  were  gener- 
ally made  easy  ;  for  it  was  well  understood,  by  all  parties,  that  the 
profits  arising  from  the  sales  in  the  bar-room,  to  scholars  and  spec- 
tators, would  amply  compensate  for  the  use  of  the  room. 

INCONVENIENCES,    OR   ACCOMMODATIONS. 

All  things  being  thus  far  arranged,  the  reader  may  now  imagine 
the  school  seated  round  the  hall,  one,  twa  or  three  deep,  as  the 
case  might  be.  To  accommodate  the  scholars  with  a  place  to  lay 
their  books  before  them,  different  methods  were  resorted  to ;  bar- 
rels, boxes,  old  chairs.  Sec,  placed  so  as  to  bear  up  a  strip  of  board 
placed  at  a  proper  distance,  were  sometimes  made  use  of  To  save 
expending  the  money  subscribed,  the  scholars  were  usually 
requested  to  provide  their  own  lights  in  the  evening  schools.  In 
those  days  schools  were  fre^iuently  kept  three  hours  in  the  after- 
noon, and  as  many  in  the  evening.  The  young  reader,  who  has 
been  supplied  with  chandeliers  or  gas-light,  and  seated  on  a  cush- 
ion, may  smile,  and  even  ask  what  is  meant  by  a  candle  ;  but  we 
speak  of  days  before  even  lamps  and  oil  were  in  connnon  use, 
which  is  not  going  back  a  long  time.  But  this  strip  of  board 
placed  before  the  scholar  answered  the  purpose  of  holding  the 
book,  and  a  standing-place  for  the  candle.  Different  means  were 
resorted  to  for  the  purpose  of  saving  the  unpleasant  task  of  holding 
it  in  the  hand ;  some  would  turn  the  candle  the  lighted  end  down, 
and  leave  a  quantity  of  the  melted  tallow  on  the  board;  then  set- 
ting the  other  end  in  the  tallow,  when  cold  it  would  stand  alone. 
Others  would  make  use  of  an  apple,  turnip  or  potato,  making  two 
sides  square  or  flat,  and  in  a  hole  in  the  centre  put  the  candle 
therein.  Others,  who  possessed  mechanical  powers  and  ingenuity, 
made  a  small  square  block,  with  a  hole  bored  in  it ;  this  was 
nearly  the  climax  of  convenience,  with  which  sometimes  some  gen- 


ESTABLISHMENT  OP  SCHOOLS.  83 

erous  mechanic  would  supply  the  whole  school.  But  if,  perchance, 
any  one  deigned  to  bring  an  iron,  tin  or  brass  candlestick  into  the 
hall,  this  was  looked  upon  with  scorn,  as  the  height  of  aristocratic 
presumption. 

THE   FIRST    MOVEMENTS. 

Thus  seated,  teaching  commences,  all  is  attention  and  eagerness 
to  learn.  Notwithstanding,  the  recess  of  the  school  in  the  course 
of  the  evening  is  anticipated  with  deep  interest ;  and  when  the 
word  is  announced,  joy  lights  up  every  countenance,  and  moves 
every  tongue.  The  movement  is  sometimes  intermingled  with 
alarm  and  vexation,  by  the  upsetting  of  barrels,  boxes  afore- 
mentioned, and  consequently  candles,  books,  &c.,  scattered  on  the 
floor.  In  addition  to  the  eagerness  to  meet  each  other  for  a  chit- 
chat, there  were  attractions  for  some  in  what  was  called  the  bar- 
room. To  this  place,  also,  at  the  close  of  each  evening  school,  com- 
mon civility  and  justice  required  that  a  proper  respect  should  be 
shown  to  the  keeper  of  the  tavern,  and  also  that  the  singing-mas- 
ter should  be  present ;  and  if  he  was  an  adept  on  the  violin,  it  was 
not  considered  indecorous  for  the  scholars  to  invite  him  to  play  a 
tune,  wliile  they  used  their  feet,  instead  of  their  hands,  to  beat  time 
to  the  measure  of  the  music. 

We  would  merely  suggest  to  our  readers  not  to  be  too  severe  in 
your  criticisms  in  regard  to  the  impropriety  of  their  conduct  in 
this  kind  of  exercise,  after  the  school  had  closed,  lest  it  should  be 
written,  some  twenty  years  hence,  of  us,  that  we  sung,  during  the 
hours  of  school,  sacred  and  secular  music  alternately.  We  hope 
the  readers  will  not  be  too  severe  in  their  denunciations,  when  they 
are  told  that  in  the  hours  of  school  every  individual  was  intent  on 
learning  sacred  music,  lest  it  should  be  written  of  them  hereafter 
that  in  the  schools  at  the  present  day,  sacred  and  secular  music  are 
sung  alternately,  not  only  so,  but  published  in  the  same  book. 

RESULT    OF    SUBSCRIPTIONS. 

Having,  at  the  commencement  of  the  chapter,  given  some 
.iccount  of  the  labors  of  the  committee  in  procuring  subscribers, 


84  ESTABLISHMENT   OF   SCHOOLS. 

perhaps  it  will  be  proper  to  accompany  them  through  their  labors, 
to  the  end  of  the  school.  The  amount  of  the  subscription,  on  paper, 
justified  them  in  employing  a  teacher  a  given  length  of  time, 
besides  paying  other  necessary  expenses ;  the  master  is  employed, 
and  promised  accordingly.  But,  alas !  some  who  subscribed  did 
not  succeed  in  learning,  left  the  school,  and  refused  to  pay.  Some 
subscribers  were  not  to  be  found ;  some  had  been  unfortunate,  and 
coidd  not  pay ;  others  would  not ;  but  the  teacher  must  be  paid, 
and  the  employers  must  pay  him ;  so  that,  for  the  honor  of  being 
one  of  the  honorable  committee,  one  might  consider  himself  highly 
fiivored  if  he  had  not  more  than  five  or  ten  dollars  extra  to  pay. 


CHAPTER  VI. 
TEACHERS  AND  TEACHING. 

Teaching  the  Theory  of  Music.  —  Trying  the  Voice.  —  Dififerent  Voices. — 
Unmanageable  Voices. — Limited  Compass  of  Voice.  —  Correct  Ears,  but 
Rebellious  Voices.  —  Natural  Singers  not  always  Correct  Voices.  —  Sug- 
gestions. —  Rejection  of  some.  —  Learning  the  Rules.  —  Change  in  the 
Names  of  Notes.  —  Distributing  the  several  Parts.  —  Beating  Time.  —  Dif- 
ferent Modes  and  Characters  for  Time.  —  Beating  is  not  Keeping  Time.  — 
Beginning  to  Sing  Tunes.  —  Deficiency  of  Books. — Music  did  not  allow 
Expression. —  Old  Singers  in  New  Schools  — Ready  for  Church. 

We  shall  next  proceed  to  give  some  account  of  the  manner  of 
teaching,  in  those  days,  preparatory  to  assuming  the  important 
station  of  singers  in  the  choir. 

TEACHING    THE   THEORY   OP   MUSIC. 

To  communicate  the  simple  rudiments  of  singing,  or  what  is 
called  learning  to  read  music,  every  teacher,  probably,  formerly, 
as  now,  had  something  peculiar  to  himself  in  his  manner  of 
imparting  the  art,  be  the  printed  directions  in  the  text-book  few 
or  many.  After  the  simple  elements  are  learned,  it  is  by  prac- 
tice and  hearing  alone  that  the  power  of  giving  notes  at  given 
distances  their  proper  and  relative  sounds  can  be  acquired.  "We 
know  that  it  is  the  common  opinion  of  parents  who  have  had  no 
experience  themselves,  that  if  a  child  has  been  to  a  singing- 
school,  and  cannot,  afterwards,  sing  tunes  at  sight,  it  is  because  the 
rudiments  have  been  neglected.  It  may  or  may  not  be  so.  No 
rules  or  directions  can  be  given  to  guide  the  voice  to  a  given 
sound  ;  practice  alone  can  do  it.  As  well  might  we  suppose  that 
8 


86  TEACHERS   AND   TEACinNG. 

a  pupil  who  could  appreciate  beautifully  proportioned  and  well 
executed  letters  could  at  once  form  them  elegantly  himself, 
without  practice.  Nothing  but  application,  in  either  case,  can  effect 
the  object;  —  the  theory  and  practice  must  go  together;  and  to 
succeed,  there  must  be  perseverance  in  both  cases.  Perhaps  you 
will  ask,  "Do  you  mean  to  say  singers  learn  by  rote?"  We 
answer,  "  Yes.  They  learn  almost  everything  by  rote,  where  sound 
is  concerned.  How  could  any  one,  by  committing.rules  to  memory, 
learn  to  pronounce  a  foreign  language,  without  first  hearing  the 
sound  communicated  by  a  teacher  ? "  The  same  may  be  asked  of 
musical  tones. 

TRYING    THE    VOICE. 

The  first  process,  after  the  scholars  were  seated,  was  what  was 
called  "  trying  the  voice,"  which  was  nothing  more  nor  less  than 
trying  the  ability  of  each  scholar  to  imitate  a  given  sound.  This 
was,  indeed,  a  critical  moment;  and  none  but  those  concerned 
can  know  or  imagine  the  trembling  and  heart-beating  excitement 
of  the  pupil,  caused  by  the  approach  of  a  teacher.  There  was  no 
escape  for  any  one,  nor  was  any  one  even  allowed  to  have  the 
voice  of  a  friend  near  by,  to  assist  him  at  this  perilous  moment ; 
each  one  was  taken  separately,  and  had  to  answer  for  himself. 
He  must  sound  out  audibly,  so  that  all  might  hear,  in  response, 
right  or  wrong,  to  the  master ;  there  was  no  discharge.  And  it 
was  curious  to  observe,  that,  if  a  scholar  under  immediate  trial 
was  so  unfortunate,  cither  through  fright  or  want  of  talent,  as  not 
to  be  able  to  imitate  the  given  sound,  how  those  who  had  been 
more  fortunate  would  exultingly  smile ;  while  those  who  had  yet 
to  go  through  the  ordeal,  however  confident  they  might  be  of 
success,  had  nothing  but  a  crimson  flush  or  mortal  paleness 
visible  in  their  faces.  It  was  understood  that,  however  unsuccess- 
ful at  the  first  trial,  their  fate  was  not  to  be  decided  by  that 
effort;  for  experience  had  proved  to  teachers  that  fear,  excite- 
ment, or  other  causes,  would  sometimes  so  afiect  the  nervous 
pystcm  and  throat,  that  the  organs   of  sound  would   refuse   to 


TEACHERS  AND  TEACHING.  87 

act  in  obedience  to  the  knowledge  and  will  of  the  person  on 
trial.  If  the  school  was  large,  this  operation  of  trying  the  voices 
occupied  the  first  evening,  and  perhaps  a  longer  time ;  at  the  close 
of  which,  the  joy  and  confidence  of  some,  that  they  were  among 
the  favored  ones,  and  the  evident  anxiety  and  suspense  of  others, 
made  the  scene  one  of  peculiar  interest  to  a  critical  observer ; 
and,  by  the  picture  presented,  one  would  be  led  to  suppose  that 
the  future  destiny  of  all  worth  living  for  was  depending  on  their 
admission  or  rejection  by  the  teacher.  In  fact,  he  seemed  to  hold 
the  destiny  of  all  concerned  at  his  disposal,  for  some  two  or  three 
of  the  first  evenings. 

DIFFERENT    VOICES. 

Perhaps  it  will  not  be  amiss  to  give  some  account  of  the  dif- 
ferent voices  and  degrees  of  talent  wriich  present  themselves 
at  the  commencement  of  a  school.  I  presume  it  will  not  be  con- 
tended that  all  have  equal  power,  tone  or  flexibility  of  voice,  or  the 
same  nicety  of  ear  to  discriminate  sounds. 

UNMANAGEABLE. 

Some  have  strong  lungs  and  strong  voices,  without  much  sensi- 
bility ;  or  rather  have  not  perception  enough,  in  regard  to  sound 
and  tone,  either  to  know  or  fear  the  wrong,  when  they  attempt  to 
imitate  a  given  note ;  and  if  you  desire  them  to  sound  a  note 
higher  or  lower,  they  may  happen  to  succeed  or  not,  in  attempt- 
ing it ;  and  if  you  ask  them  to  sound  higher,  it  will,  perhaps, 
only  be  louder.  There  the  voice  is,  and  there  it  is  determined  to 
stay ;  and  there,  perhaps,  it  must  stay. 

LIMITED    COMPASS. 

The  next  class  are  found  capable  of  moving  the  voice  up  and 
down  two  or  three  notes,  or  more,  correctly  ;  an(i  then  they  seem 
to  be  at  the  top  or  bottom  of  their  ladder,  and  nothing  but  pa- 
tience and  perseverance  can  coax  the  voice  either  up  or  down 
any  further.     These  two  classes  are  generally  insensible  to  the 


88  TEACHERS  AND  TEACHING. 

wrong,  having,  as  a  teacher  once  said,  "  leather  ears,"  so  far  as 
music  is  concerned,  and  cannot  discriminate  sounds. 

CORRECT    EARS,  BUT    REBELLIOUS    VOICES. 

The  next  class  we  shall  mention  are  those  who  have  correct  ears, 
but  rebellious  voices,  either  for  want  of  practice,  or  some  other 
cause.  When  a  sound  is  given  them  to  imitate,  they  instantly 
know  if  they  fail,  —  stop,  and  "try  again  "  of  their  own  accord. 
These,  by  practice,  often  succeed  in  acquiring  the  power  of 
managing  the  voice,  and  sometimes  make  the  best  of  singers. 

NATURAL   SINGERS   HAVE    NOT   ALWAYS   CORRECT    VOICES. 

Another  class  are  those  that  are  found  among  what  are  called 
sometimes  natural  singers,  who,  having  been  praised  too  much  to 
learn  systematically,  or  to  "believe  it  possible  for  them  to  err,  when 
a  sound  is  given  or  heard  will  imitate  it  almost  right,  but  just 
enough  out  of  the  way  to  distress  the  hearer  or  teacher.  These, 
of  all  voices,  are  the  most  to  be  dreaded ;  for  their  possessors,  gen- 
erally, have  strength  of  voice,  and  still  stronger  confidence  in 
themselves,  and  have  been  made  to  believe  that  they  were,  or 
would  be,  wonderful  singers,  —  probably  because  they  made  a 
wonderful  noise. 

Such  voices  have  been  the  cause  of  more  discordant  music  than 
any  other.  Those  who  have  correct  voices  and  ears  may  possibly 
avoid  perfect  jargon,  by  singing  in  concord,  and  all  sink  or  rise 
together.  But,  if  there  be  voices  inflexibly  true,  or  instruments 
accompanying,  the  tones  of  which  cannot  yield,  they  make  music 
intolerable.  The  instruments  proceed  correctly,  of  course,  while 
the  great  and  heedless  voice  moves  on  triumphantly,  sinking  or 
slipping  downward,  and  rendering  the  chasm  wider  at  every  note. 
Mutual  criminations  between  singers  and  players  on  instruments 
ensue,  the  latter  Jjeing  accused  of  having  their  instruments  out  of 
tune  ;  and  even  the  innocent  organ,  which  cannot  change,  is 
accused  and  condemned,  as  being  untuned  or  unskilfully  played, 
the  singers  never  dreaming  that  they  may  be  in  fault.  In  such 
cases  it  is  easy  to  perceive  that  something   is  wrong,  and  nine 


TEACHERS    AND    TEACmXO.  1S9 

times  out  of  ten  the  liidJcn  secret  of  the  trouble  begins  and  ends 
with  one  or  more  voices  such  as  have  been  described.  And  what 
makes  it  the  more  unfortunate  is,  that  such  persons  often  read  music 
with  facility  ;  and  that  their  voices,  being  prominent,  not  mixing 
with  others,  are  heard  and  praised  by  the  multitude ;  and  if  a 

acher  or  chorister  intimates  to  thorn  that  all  is  not  right,  it  is 

iisidered  a  great  insult  by  the  individual  and  his  friends. 

Teachers  have,  found  that  nothing  will  convince  such  of  their 
error  but  the  experiment  of  giving  them  the  first  note  of  a  tune 
with  some  instrument,  and,  after  letting  them  sing  the  tune 
through  alone,  to  compare  the  last  note  with  the  instrument. 
Hence,  a  tune  may  be  sung  through,  and  seem  correct,  when  an 
imperceptible  depression  has  been  going  on  with  each  successive 
note,  and  consequently  not  one,  from  beginning  to  end,  has  been 

rrectly  given. 

SUGGESTIONS. 

"VVe  may  })e  asked  the  reason  and  the  remedy  of  this  difficulty. 
These  are  questions  more  easily  asked  than  answered ;  and  this 
leads  us  to  leave  our  history,  and  make  some  few  suggestions, 
which  we  believe  to  be  correct.  It  is  evident  that  deviations 
from  the  pitch,  of  which  what  is  called  •'  singing  flat  "  is  infinitely 
more  connnon  than  "  singing  sharp,"  will  arise  from  two  causes : 
first,  a  defective  training ;  second,  a  failure  in  the  delivery  of  the 
breath,  either  from  physical  weakness  of  the  respiratory  apparatus, 
or  from  unskilful  management  of  it.  Among  those  who  fail 
from  the  first  cause, are  some  who  are  heedless,  and  will  not  listen; 
others  whose  ear  has  })een  vitiated  by  practising  with  treacherous 
voices  or  instruments  imperfectly'  tun^d ;  and  others  who  have 
never  been  properly  exercised  uj)on  the  scale. 

The  second  class  of  causes  includes  some  who  fail  from  physical 
weakness  of  the  muscular  apparatus,  where  th9re  is  a  lack  of 
energy  and  tone  in  the  respiratory  nuiscles,  in  connnon  with  other 
parts  of  the  body.  Such  persons  can  only  find  a  remedy  in 
invigorating  the  general  system.  Most  persons,  however,  have 
8* 


90  TEACHERS  AND  TEACHING. 

sufl&cient  muscular  energy,  but  fail  in  the  management  of  it. 
Some  will  partially  fill  the  chest ;  and  others  will  take  in  a  large 
volume  of  air,  but  allow  it  to  escape  in  singing  two  or  three  sylla- 
bles. Such  persons  always  make  languid  singers,  and  rarely 
sustain  the  pitch.  A  well-trained  singer  fills  his  chest  and  dis- 
charges it  so  gradually  that  the  reservoir  seems  to  be  inexhaust- 
ible. Some  begin  each  note  with  a  sort  of  explosion,  continuing 
it  with  a  strongly-marked  diminuendo,  till  it  ends  as  if  from 
exhaustion  ;  such  are  almost  sure  to  go  inevitably  down.  Others 
fail  for  want  of  giving  sufficient  impulse  to  the  sound,  especially 
when  they  attempt  to  sing  soft ;  and  the  voice  drops  like  a  spent 
arrow.  They  overlook  the  distinction  between  volume  and  force ; 
so  their  amplest  sounds  evaporate,  as  it  were,  and  penetrate  to  no 
great  distance.  We  might  compare  the  effectiveness  of  sounds, 
however  full,  emitted  with  deficient  force,  and  those  uttered  with 
full  force,  however  suppressed,  to  the  impetus  of  the  foot-ball 
compared  with  the  rifle-ball.  Every  one  who  heard  Jenny  Lind 
must  have  been  struck  with  the  distinctness  with  which  almost 
inaudible  notes  penetrated  to  the  most  distant  parts  of  immense 
apartments,  by  means  of  the  impetus  with  which  she  threw  them 
from  her ;  and  still  more  astonishing  was  it  to  witness  that  won- 
derful training  of  the  ear  and  voice  by  which  she  was  enabled  to 
turn  from  the  piano-forte,  and,  after  sporting  in  echoes  of  her  own 
voice  for  some  minutes,  finally  close  with  an  almost  interminaljle 
note,  completely  dying  out  in  the  distance,  turn  again  to  the 
instrument,  and,  by  a  gentle  touch  of  the  key,  show  that  her  voice 
had  not  swerved  a  hair's  breadth. 

IMuch  may  be  done,  by  a  judicious  teacher,  to  remedy  tliese 
defects;  but  the  remedies  must  be  adapted  to  the  case.  Early 
attention  must  be  bestowed ;  for  when  a  habit  of  "  singing  flat  "  is 
once  formed,  the  voice  will  inevitably  sink,  much  like  the  tones  of 
a  string  which  is  rapidly  stretching.  It  is  a  common  thing  to 
hear  leaders  of  choirs  connnand  them  to  "  keep  their  voices  up  to 
the  pitch,"  with  just  the  same  effect  as  it  would  have  to  tell  a 
man  standing  on  a  quagmire  to  keep  himself  from  sinking,  when 


TEACHERS  AND  TEACHING.  91 

the  more  he  exerted  himself  the  deeper  he  would  bo  suro  to  sink. 
Few  are  aware  how  much  depends  on  the  management  of  the 
breath.  By  a  skilful  husbanding  of  it,  a  cautious  commencement 
of  each  note,  and  a  gentle  increase  of  its  force,  and  such  a  rapid- 
ity of  the  issue  of  the  breath  as  to  give  due  impulse  to  the  sound, 
great  accuracy  may  be  attained  where  great  defects  originally 
existed. 

It  may  be  asked  what  is  to  be  done,  and  what  has  been  done, 
where  such  voices  are  in  a  choir,  and  the  trouble  cannot  be  reme- 
died while  they  are  present.  Truly,  what  can  be  done,  but  to 
leave  them  to  sing  alone,  or,  in  a  kind  manner,  to  request  them  to 
withdraw  ?  As  was  said  in  the  outset,  we  consider  such  voices  the 
greatest  possible  evils ;  and  we  presume  that  the  length  of  our 
observations  will  convince  every  reader  that  we  are  sincere. 

CORRECT  -VOICES    AND    EARS. 

The  last  class  includes  such  as  have  ears,  organs  and  feelings, 
that  will  not  allow  them  to  vary  from  any  given  sound ;  and  of 
them  nothing  need  be  said. 

REJECTION    OF    SOME. 

The  time,  has  now  arrived  when  the  opinion  of  the  teacher,  and 
of  most  of  the  scholars,  has  passed  a  fatal  sentence  on  some,  as 
deficient  in  musical  talent,  and  the  sentence  must  be  and  is 
passed ;  the  separation,  however  painful,  mast  take  place,  and,  in 
some  instances,  their  dearest  friends  are  under  the  necessity  of 
hearing  the  sentence,  and  of  seeing  them  turn  their  backs  upon 
the  school  with  blasted  hopes,  not  only  as  not  being  counted 
among  singers,  but  as  shut  out  from  the  amusements  and  comforts 
anticipated  from  the  social  interviews  of  the  school. 

LEARNING    THE    RULES. 

The  instant  the  scholar  was  released  from  the  trial  of  his  skill  in 
rising  his  voice,  he  gladly  commenced  the  trial  of  scholarship  in 
committing  lessons  to  memory.   And  Tt  was  curious  to  observe  that 


92  TEACHERS   AND   TEACHING. 

those  who  were  the  least  hopeful  as  to  their  voices  would  usually 
be  the  first  to  commit  their  lessons,  and  so  on  through  all  the 
exercises  or  the  rudiments ;  one  part  of  the  school  seemed  to  be 
triumphing  over  those  who  could  not  command  their  voices,  the 
other  equally  rejoicing  because  they  excelled  as  scholars  in  reciting 
the  rules. 

HOW  AND    WHAT   TAUGHT. 

The  scholar  was  first  shown  the  gamut,  as  it  was  called,  and 
taught  the  location  of  each  of  the  seven  letters  on  the  five  lines  and 
their  spaces,  which  had  to  be  committed  to  memory.  The  same 
letters  were  on  difiercnt  lines  and  spaces,  for  the  different  parts, 
as  indicated  by  the  Clef  at  the  beginning  of  the  tune  ;  namely,  Bass 
or  F  Clef,  placing  the  letter  F  on  the  fourth  line ;  the  Counter  or 
C  Clef,  placing  it  on  the  first  line,  and  fourth  space ;  Tenor  and 
Treble,  or  G  Clef,  on  the  first  space,  or  fifth  line. 

Next,  he  was  taught  the  names  of  the  successive  notes  on  the 
scale,  which  were,  as  we  said,  fa,  sol,  la,  fa,  sol,  la,  mi,  —  mi 
being  called  the  governing  note,  from  which  followed,  fa,  sol,  la, 
&c.,  above,  and  la,  sol,  fa,  &c.,  below.  For  every  different  key, 
this  governing  note  was  removed  to  a  different  line  or  space  on 
the  staff",  and  with  it  the  whole  scale,  maintaining  its  relative 
situation  with  the  governing  note ;  and  flats  and  sharps  were  used 
to  designate  each  change.  These  changes  were  repeated  over  and 
over,  to  make  them  familiar  to  the  learner,  as  follows  :  *'  The 
natural  place  for  7ni  is  on  B.  If  B  be  flat,  mi  is  on  E ;  F  be 
sharp,  mi  is  on  F,"  &c.  &c.  The  repetition  and  committal  of  this 
lesson  answered  all  purposes,  to  enable  the  learner  to  call  the  notes 
by  their  right  names.  The  causes  and  effects  of  these  changes 
was  considered  too  intricate  a  subject  to  be  understood  by  the 
learner,  or  explained,  except  by  degrees,  as  he  advanced  in  practice. 

Among  the  lessons,  an  important  item  for  the  exercise  of 
memory,  as  well  as  observation,  was  the  fact  that  the  last  note  in 
the  bass  was  the  key-note  of  the  tune;  and  if  it  ended  first  above 
mi,  this  being  the  governing  note,  is  was  called  a  major  ;  if  below 
mi,  a  minor. 


TEACHERS  AUB   TEACHING.  93 

The  scholars  were  then  allowed  to  proceed  together  in  what 
was  called  rising  and  falling  the  eight  notes  of  the  octiive,  and 
were  taught  the  names  and  comparative  length  of  the  notes. 
Nothing  was  known  or  heard  of  whole,  half,  quarter  notes,  &c. ; 
it  was,  semibreve,  jninim,  crotchet,  qicaver,  semiquaver,  de?m- 
seviiqiiaver. 

CHANGE    IN    THE    NAMES    OF    NOTES. 

The  re^ider  will  perceive  that  but  four  different  syllables  were 
used,  namely,  fa,  sol,  la,  mi ;  therefore,  the  syllables  fa,  sol,  la 
were  repeated,  so  that  the  scholar  was  taught  to  say,  above  mi, 
fa  sol  la  twice,  then  comes  ini  again  ;  below  mi,  la  sol  fa  twice, 
then  comes  mi.  This  method  of  singing  by  note,  although  incon- 
venient and  inconsistent,  was  continued  till  about  thirty  years  ago, 
when  the  present  syllables,  do,  re,  mi,  fa,  sol,  la,  si,  were  intro- 
duced. 

This  change  in  the  names  of  notes  created  a  great  deal  of  trouble 
and  perplexity,  not  in  teaching  l^eginners,  but  with  those  who  had 
learned  the  "old  way;"  some  denouncing  it  as  unnecessary,  and 
.%o  improvement.  Some  would  meet  to  practise  with  new  schools, 
,  but  would  not  t'lke  the  trouble  of  learning  the  "  new  way,"  and 
would  either  keep  silent  while  others  sung  by  noTe,  or  make 
I  unknown  sounds,  without  any  articulation;  while  others  would 
(abandon  singing  entirely.  It  was  then  asked,  and  in  some  parts 
jof  the  country  is  asked  still,  "  What  better  is  this  new  method  ?  " 
'Without  going  into  the  particular  merits  of  the  case,  we  would 
adopt  the  true  Yankee  style,  of  answering  one  question  by  asking 
another,  —  Why  would  it  not  be  just  as  well  to  repeat  the  four  first 
letters  of  the  alphabet  in  applying  them  to  the  staflf,  and,  instead 
of  A,  B,  C,  D,  E,  F,  G,  use  the  first  four  in  this  manner, 
A,  B,  C,  A,  B,  C,  D 1  The  answer  must  be  obvious  to  everyone ; 
for,  in  either  case,  in  applying  the  principles  of  music,  if 
we  ask  where  the  letter  C,  or  the  note /a,  is  to  be  found  on  the 
staff,  before  it  can  be  answered  the  question  must  be  asked,  which 
jC  or  which  fa,  the  first  or  second,  above  or  below  mi,  is  meant. 


94  TEACHERS   AND   TEACHING. 

DISTRIBUTING   THE   SEVERAL   PARTS,    OR    VOICES. 

After  these  introductory  lessons,  the  distribution  of  the  voices 
to  the  parts  best  suited  to  individuals  was  attended  with  many 
difl&culties,  and  often  gave  offence.  The  air,  or  leading  part  of 
the  harmony,  —  now  usually  called  soprano,  —  was  sung  by  male 
voices.  This  part  being  prominent,  all  gentlemen  who,  by  the 
greatest  exertion,  could  reach  a  note  that  had  any  claim  to  be 
called  high,  were  sure  to  plead  the  right  of  being  placed  among 
the  privileged  ones  Of  these  many  soon  found,  by  experience, 
that  whatever  their  desire  might  be,  their  voices  could  not  be  per- 
suaded or  forced  to  so  high  a  point  as  was  necessary,  and  con- 
tented themselves  with  the  humbler  part  of  bass.  The  part  usually 
sung  by  the  ladies  was  written  on  the  upper  staff  in  the  brace. 
The  alto  —  or  counter^  as  it  was  then  called  —  had  a  place  on  the 
third  staff,  and  had  a  clef  peculiar  to  that  part,  called  the  C  clef, 
formed  thus  :  |U|  This  part  was  originally  designed  for  boys, 
being  written  ||J|  '  an  octave  higher  on  the  staff  than  it  is  at 
the  present  day.  It  was  rarely  sung  by  female  voices ;  and,  when 
attempted,  was  usually  sung  at  the  top  of  their  voices,  just  as* 
written.  It  was  therefore  too  shrill  to  be  pleasant,  and  was  soon 
abandoned.  •Boys  could  seldom  be  found  who  had  skill  enough 
to  lead  the  part,  and  but  few  gentlemen  could  reach  the  high 
notes ;  so  the  consequence  was  that  this  part  was  seldom  sung, 
although  an  important  one  in  the  harmony. 

Singers  of  the  present  day  will  probably  be  astonished  at  this 
distribution  of  the  several  parts.  The  idea  of  the  gentlemen  sing- 
ing the  air,  or  soprano,  the  ladies  singing  the  tenor,  or  upper  staff, 
inverts  all  harmony,  as  made  on  the  organ  ;  but  when  they  are  told 
that  organs  were  scarcely  known  in  those  days,  and  that  the  har- 
mony of  tunes  was  generally  written  in  such  a  zig-zag  manner 
that  it  mattered  but  little  how  the  voices  or  parts  were  distributed, 
they  will  be  satisfied  that  the  theory  and  practice  of  music  were 
alike  uncultivated. 


A 


TEACHERS    AND   TEACHING.  95 

BEATING   TIME. 

In  the  mean  time,  the  motions  of  the  hand  necessary  to 
meiisuro  or  mark  the  movements  of  music  were  practised  and 
explained. 

The  motioiis  of  the  hand  for  "  beating  time,"  as  it  was  called, 
varied  at  diflfcrent  periods,  and  with  different  teachers.  They 
were  not  so  nicely  defined  as  to  be  considered  obligatory  on  either 
master  or  scholar ;  although  uniformity  was  recommended,  yet 
human  nature  does  not  like  confinement ;  and  the  peculiarities  of 
individual  character  might  often  be  read  in  the  latitude,  altitude, 
velocity,  and  eccentricity  of  the  movement  of  the  hand  in  beating 
time. 

DIFFERENT    MODES   OF    TIME. 

There  were  three  measures  of  time,  as  at  present ;  then  called 

common,  triple  and  compound.     Common  time  had  three  modes  or 

marks,  namely,  first,  Q,  or  j^j--,  second,  ^ ;  third,  f .      The   first 

had  fourH!)cats,  practised  as  follows :  first,  rest  the  ends  of  the 

fino;ers ;  second,  the  whole  hand ;  third,  raise  the  hand  on  the  ends 

of  the  finger^gain,  then  raise  it  entirely ;  or,  third,  clenching  the 

fingers ;  then  opening  or  raising  the  hand  for  the  fourth.     The 

;  second  and  third  mode  required  but  two  beats,  or  motions,  one 

down  and  one  up,  the  motion  being  made  more  or  less  extensive, 

!  according  to  the  taste  and  ambition  of  the  singer ;   f ,  f  and  f ,  all 

I  alike  in  execution,  had  three  beats,  the  two  first  beats  like  those 

I  of  the  first  mode  of  common  time ;  the  third  by  raising  the  hand. 

]  J,  f ,  compound  time,  formerly  had  but  two  beats  used,  like  the 

1  second  and  third  common  time,  one  beat  to  three  crotchets  or 

quavers,  the  first  of  the  three,  being  accented. 

BEATING    IS    NOT    KEEPING    TIME. 

Many  suppose  that,  because  they  keep  on  beating  through  a 
tune,  they  must  be  correct  in  their  time.  Not  so  ;  few  performers 
keep  time  so  correctly  as  to  stand  the  test  of  a  regular  mechanical 
motion ;  and  a  great  many  sing,  and  conform  their  beating  time  to 
their  progress  and  success  in  calling  notes  or  performing  the  tuno. 


96 


TEACHERS    AND   TEACHING. 


But,  to  beat  time  exact,  and  make  singing  conform  to  a  regular 
motion,  is  a  diflferent  thing.  A  whole  choir  may  beat  time  exactly 
together  while  singing  a  tune,  following  their  singing,  and  yet  keep 
no  correct  time.  The  fact  is,  there  must  be  some  machinery 
within,  that  vibrates  regularly,  and  cannot  be  diverted,  and  will 
sacrifice  notes  rather  than  time.  A  singer  must  hear  and  feel. 
Deliver  us  from  a  plodding  singer,  that  labors  with  his  hand  and 
voice,  without  ears  or  feeling  ! 

Observe  an  audience  listening  to  music  in  accurate  movement ; 
—  they  hear,  and  involuntarily  make  some  kind  of  motion  in 
sympathy  with  it ;  but,  the  moment  the  performers  fail  to  move 
together,  motion  ceases.  Before  accompaniments  were  written, 
mechanical  time  was  not  observed.  The  performer  gave  length 
and  strength  to  notes  to  suit  his  own  taste,  in  giving  expression  to 
words;  so  that,  when  correct  time  was  found  necessary^  on  account 
of  additional  parts,  it  was  considered  a  fetter  to  expression,  and 
caused  old  singers  to  say  that  time  made  slaves  of  singers. 

BEGINNING    TO    SING    TUNES. 

Thus  much  being  learned  in  regard  to  notes,  time,  &c.,  the 
scholars  would  begin  to  be  restless,  anxious  to  sing  or  learn  tunes ; 
and  if  the  master  hesitated,  it  would  be  suggested  to  him  that  Mas- 
ter B.  permitted  his  scholars  to  sing  tunes  the  third  evening  ;  so,  to 
keep  up  with  the  times,  tunes  must  be  attempted  immediately  ;  and 
it  would  be  said  by  the  teacher,  "  We  must  attend  to  rudiments 
hereafter." 

As  the  means  for  supporting  schools  were  limited,  teachers, 
scholars,  parents  and  patrons,  were  anxious  to  have  rapid  strides 
made  in  the  school.  The  time  not  usually  exceeding  twenty-four 
evenings,  of  course,  the  rudiments,  if  learned  at  all,  must  be 
learned  in  a  short  time  ;  and,  the  practice  of  singing  once  com 
nienced,  it  became  unpleasant,  if  not  degrading,  to  turn  from  sin 
ing  to  the  dull  nmsic  of  rudiments,  which  the  teacher  had  prom- J 
ised ;  so  that  even  the  few  lessons  they  had  committed  to  memory 
were  in  part  forgotten,  except  those  necessarily  applied. 


\ 


TEACHERS    AND    TEACUING.  97 

DEFICIENCY    OF    BOOKS. 

Books  were  rare ;  for  it  ever  has  been  the  ease  that  there  is 
an  unwillingness  to  expend  money  to  purchase  books  of  sacred 
rausic,  as  well  as  for  tuition.  It  was  not  uncommon  to  see  some 
two,  three,  or  four  singers,  depending  on  a  sight  at  one  book ;  some 
holding  an  ancient  book,  containing  here  and  there  one  of  the  tunes 
given  out  to  learn  ;  others  with  manuscript  copies  of  one  part 
only,  so  that  the  position  of  the  school  was  not  always  so  regular 
as  might  seem  desirable. 

MUSIC    DID    NOT   ALLOW   EXPRESSION. 

In  modern  times,  we  inculcate  the  idea  that  the  object  of 
learning  music,  and  applying  it  to  words,  is  to  give  additional 
expression  to  sentiment.  To  effect  this,  the  manner  of  teaching 
and  examples  given  are  as  various  in  singing  as  in  reading ;  but 
formerly  the  tunes  were  so  constiiicted  that,  instead  of  making 
use  of  the  tunc  to  give  expression  to  words,  the  main  object, 
from  necessity  was,  to  learn  the  tune ;  and  that  was  done  by  sing- 
ing it  by  note  about  twenty  times;  and  when  about  com- 
mitted to  memory,  the  words  were  applied,  instead  of  the  syl- 
lables/a sol  la^  to  sing  the  tune,  and  with  just  as  little  thought 
about  their  meaning.  Besides,  it  mattered  but  little,  with  tunes 
generally  used,  what  words  were  applied,  or  how  they  were  sjxjken, 
since  different  words  were  spoken  by  different  parts  at  the 
same  time,  so  that  language  was  as  much  confounded  as  at  the 
tower  of  Babel.  The  two  first  lines  of  the  words  and  music  were 
generally  found  to  move  on  peaceably  together,  but  the  anticipation 
of  what  was  to  follow  absorbed  the  mind  of  the  singer ;  for  soon 
each  part  was  to  take  its  flight,  and  each  knew  the  necessity,  even 
if  doomed  to  be  the  last  to  start  in  the  race,  of  arriving  at  the  last 
note  simultaneously.  Therefore  there  was  no  time  for  thought;  — 
all  was  action. 

9 


98  TEACHERS   AND   TEACHING. 

OLD   SINGERS   IN    NEW   SCHOOLS. 

It  was  not  expected  that  those  who  had  before  been  through  the 
common  though  superficial  training  of  a  former  singing-school 
should  take  part  in  the  preliminary  exercises;  and,  however 
necessary  it  might  be,  they  would  consider  it  as  degrading  to  be  seen 
plodding  through  the  mazes  of  the  rudiments ;  and  when  they 
came  in  to  join  in  practising  tunes,  the  new  school  looked  at  them 
with  a  jealous  eye. 

It  was  one  of  the  greatest  difiiculties  attending  the  teaching  of 
schools,  where  necessity  obliged  old  and  new  singers  to  meet 
together,  to  give  satisfaction  to  all,  or  even  to  one's  self;  the  for- 
mer wishing  only  to  sing  tunes,  and  perhaps  by  word  only,  and  the 
latter  needing  to  proceed  more  slowly  "and  surely.  All  have  sub- 
scribed equally,  and  all  claim  attention  to  their  particular  wants ; 
and  nccessit}'^  requires  that  both  should  be  prepared  for  singing  in 
church  together.  There  seemed,  therefore,  no  other  way  but  to 
compromise,  and  attend  to  the  theory  and  practice  alternately ;  and 
this,  many  times,  was  done  against  the  better  judgment  of  the 
teacher  and  many  of  the  singers.  This  difficulty  ever  has  existed, 
and  ever  will  exist,  until  the  means  for  supporting  schools  are  so 
enhanced  that  proper  classes  can  be  formed. 

Although  a  generation  of  singers,  as  we  have  said,  does  not  gen- 
erally exist  more  than  three  or  four  years,  yet  there  are,  here  and 
there,  individuals  who  have  stood  as  pillars  in  the  singing  choir, 
known,  and  perhaps  revered,  by  all.  There  were  usually,  also, 
others  that  were  never  of  much  consequence  as  singers.  They, 
too,  would  take  their  seats  to  practise  with  the  school,  and  evi- 
dently felt  themselves  to  be  of  much  importance.  They  were,  of 
course,  watched,  witli  eyes  and  cars,  by  the  young.  The  master 
had  perhaps  been  teaching  his  pupils  some  peculiar  manner  of  beat- 
ing time ;  forming  sounds,  or  pronouncing  words ;  or  to  avoid  par- 
ticular habits  in  accent,  slurs,  &c.,  and  having,  perhaps,  ridiculed  all 
other  methods  but  his  own.  The  old  singers  take  their  scats,  com- 
mence in  full  confidence,  expecting  to  astonish  their  young  hearers, 
when,  lo !  the  quality  of  sound,  the  habits,  &c.,  that  they  have  heard 


TEACHERS  AND  TEACHINO.  99 

80  often  ridiculed,  are  brought  out  in  full  colors  and  power,  to  the 
great  amusement  of  the  school !  The  new  comer  wonders,  is  pro- 
voked to  see  the  smile  which  he  perceives  is  not  that  of  approba- 
tion, —  perhaps  stops  singing.  The  school  hesitates,  and  between 
them  both,  every  tune  seems  ready  to  perish  by  the  way.  Among 
old  and  new  singers,  there  are  always  those  to  be  found  who  have 
never  learned  to  sing  by  note ;  but,  having  good  ears  and  flexible 
voices,  and  having  received  a  fiill  share  of  flatter}^  pass  for  the  best 
of  singers.  Such  will  look  on  with  disdain,  while  a  tune  is  being 
sung  by  note,  seeming  to  say,  "  I  am  beyond  that,"  and  so  wish 
to  have  it  understood  by  hearers ;  listening,  all  the  while,  to  learn 
the  tune ;  and  whem  directioas  are  given  to  sing  the  words,  then  is 
the  time  for  them  to  display  their  importance,  and  they  commence 
with  a  tremendous  power,  that  astonishes  some  and  provokes  more. 
One  who  understands  singing  will  cheerfully  conform  to  the 
doings  of  a  school ;  so  that  you  may  calculate,  for  a  general  rule, 
that  he  who  does  not  become  a  learner  when  with  learners  never 
did  learn  properly.  And  permit  us,  in  passing,  to  observe,  that 
teachers,  in  all  departments  of  education,  are  apt  to  be  too  tena- 
cious of  their  own  peculiar  mode  of  teaching,  condemning  all  others ; 
and,  trying  to  make  their  pupils  believe  there  is  no  other  good  way, 
they  dwell  with  great  emphasis  on  some  particular  point  which  they 
find  has  been  neglected  by  teachers  before,  and  which,  perhaps,  is 
of  little  consequence  in  reality,  and  magnify  it,  as  if  the  whole 
destiny  of  a  learner  depended  on  this  one  thing,  and  that  they,  by 
their  timely  interposition,  had  saved  him  from  fatal  error. 

READY    FOR    CHURCH. 

We  have  now  come  to  the  close  of  the  school,  and  the  scholars 
are  prepared  and  waiting  for  an  opportunity  to  appear  in  pub- 
lic. During  the  meetings  of  the  school,  many  parents  and  others 
interested  have  called  to  witness  their  progress,  and  perhaps 
listened,  at  recess,  with  delight,  to  the  song  by  the  teacher,  to  say 
nothing  of  the  beverage  introduced  by  way  of  interlude ;  —  clergy- 
men and  officers  of  the  church,  who,  although  they  perfectly  under- 


100  TEACHERS  AND  TEACHING. 

stood  that  the  school  was  soon  to  appear  before  them,  and  take  part 
with  them  in  public  worship,  never,  perhaps,  have  been  near  the 
school.  Not  so  with  all,  —  there  were  honorable  exceptions  of 
those  who  felt  the  importance  of  having  this  part  of  public  worship 
performed  with  decency  and  in  order ;  also  of  forming  a  friendly 
intercourse  with  those  who  sing  in  church  ;  —  these  have  met  with 
them,  sung  with  them,  and,  by  their  precept  and  example,  led  young 
learners  to  attach  due  importance  and  sacredness  to  the  employ- 
ment. This  was  as  it  should  be ;  and  by  this  kind  of  influence  a 
reformation  was  eventually  commenced,  which  has  been  progress- 
ing from  year  to  year. 


CHAPTER  VII. 
MUSIC  IN  CHURCHES. 

Exhibition  of  a  School.  —  Clergyman's  Address.  —  Refreshments  at  Re- 
cess. —  Organization  of  the  Choir.  —  Choice  of  Officers  or  Leaders.  — 
Highest  Seats.  —  Remedy  for  those  who  contend  for  the  Highest  Seats.  — 
Caste  among  Singers.  —  Choirs  dispersed,  and  what  the  Resort.  —  Foibles 
and  Virtues  of  Singers.  —  Changes  in  Choirs.  —  Favorite  Leaders,  or  Choris- 
ters. —  Extreme  Obstinacy.  —  Location  of  Choirs  in  the  Church.  —  Ono 
Leader  ;  his  Responsibility  ;  his  place  in  the  Seats.  —  Method  of  finding 
and  establishing  the  I'itch  of  a  Tune.  —  Tunes  committed  to  Memory.  — 
Advantage  of  committing  to  Memory.  —  Multitude  of  Books  at  the  present 
time.  —  Inconveniences.  —  Same  Tunes  will  not  please  all.  —  Demeanor  of 
Singers  in  Church.  —  Fault  sometimes  in  the  Leader.  —  Irreverence  of  Choir. 

EXUIBITION    OF    SCHOOLS,    AND    CLERGYMAN'S    ADDRESS. 

The  singing-school,  which  we  left  rather  unceremoniously  in 
the  hall  of  a  tavern,  we  will  now  conduct  into  the  meeting-house, 
tJie  place  assigned  for  the  first  appearance  of  the  scholars  in  public, 
there  to  give  parents  and  patrons  an  opportunity  of  judging  of 
their  proficiency  and  their  fitness  to  perform  on  the  Sabbath.  The 
members  of  the  former  choir,  who  have  attended  more  or  less, 
are  perhaps  among  them.  The  rights  and  honors  of  neither  old 
nor  young  have  as  yet  been  canvassed.  We  will  suppose  (for  that 
WJis  the  usual  course)  that  the  minister  of  tlie  parish  is  to  address 
them  on  the  subject  of  music,  this  being  included  in  the  perform- 
ance, as  a  sort  of  relief  or  interlude  to  the  singing.  After  rehearsing 
some  of  the  tunes  prepared  as  a  specimen  of  their  skill,  then  comes 
the  address.  Teacher  and  pupils  expect  to  be  particularly  noticed. 
They  listen  with  intense  interest.  If  little  is  said  to  flatter  their 
feelings,  sad  is  the  disappointment.  He  ventures,  though  trcmbling- 
9^ 


102  MUSIC   IN   CHURCHES. 

ly,  to  say,  t];iat  singing  is  a  talent  given  by  God  to  sound  forth  his 
praise  on  earth,  and  that  it  is  the  duty  of  those  who  possess  it  to 
cultivate  it,  and  to  assist  in  that  part  of  worship  in  his  house.  It 
would  then  be  immediately  whispered  around,  "  We  will  have  our 
minister  to  know  that  we  are  under  no  obligation  to  him.  We  have 
paid  our  own  tuition,  and  devoted  our  time,  and  shall  sing  if  wo 
please,  and  not  otherwise."  And  the  adversary,  as  we  have  before 
stated,  ever  an  enemy  to  music  in  the  church,  is  ready  to  magnify 
a  kind  suggestion  into  actual  abuse,  and  helps  and  urges  them  to  quit 
at  once.  For  example :  on  one  occasion,  a  clergyman  expressed  a 
hope  "  that  those  who  gladdened  the  house  of  God  with  the  har- 
mony of  their  voices  would  be  particularly  careful  to  cultivate  the 
much  sweeter,  and,  to  the  ear  of  Heaven,  the  much  more  accepta- 
ble harmony,  which  resulted  from  a  unison  of  pious  hearts."  This 
appropriate  suggestion  was  considered  an  insinuation  sufficiently 
insulting  to  cause  the  whole  choir  to  show  their  indignation  tow- 
ards the  interfering  pastor  by  vacating  their  seats. 

The  address  being  ended,  they  rehearse  more  of  their  choice 
pieces  of  music.  Then  comes  a  recess,  which  seems  to  be  necessary 
in  order  that  their  parents  and  friends  may  have  an  opportunity 
to  meet  and  congratulate  them  on  their  success. 

REFllESIIMENTS   AT   RECESS. 

We  have  heard  with  our  ears,  if  not  seen  with  our  eyes,  that 
during  the  recess,  ardent  spirit  was  generously  handed  round  among 
the  singers  in  the  gallery  of  the  church,  to  cheer  them  on  their 
course ;  and  surely  it  could  not  be  said,  during  the  remainder  of 
the  exercises,  that  they  sung  without  any  kind  of  spirit.  This 
was  done  publicly,  the  minister,  elders,  church-members,  and  the 
whole  congregation,  looking  on  with  apparent  satisfaction  to  see  the 
young  people  enjoy  themselves,  congratulating  each  other  on  the 
prospect  before  them  of  having  good  music  in  the  church,  in 
future. 

However  preposterous  this  may  seem  to  the  young  reader,  and 
even  to  some  of  mature  age,  we  mention  it  more  especially  to 


MUSIC   IN   CHURCHES.  108 

show  the  power  of  custom.  But  it  was  at  a  certain  period,  in  the 
memory  of  many,  when  by  way  of  beverage,  or  the  entertainment 
of  friends,  anywhere  and  everywhere,  a  glass  of  liquor  was  looked 
upon  to  be  just  as  proper  and  innocent  as  a  cup  of  cold  water. 
Those  who  refused  to  drink  it  were  regarded  as  destitute  of  com- 
mon civility ;  and  those  who  declined  had  to  excuse  themselves 
by  saying  it  did  not  agree  with  them. 

ORGANIZATION   OF   THE   CUOIR. 

The  exercises  being  finished,  before  adjourning,  a  general  notice 
is  given  for  all  the  singers  to  meet,  at  an  appointed  time  and  place, 
for  the  purjx)se  of  choosing  a  leader,  or  leaders,  and  otherwise 
organizing  the  choir.  This  is  a  startling  subject.  From  that 
moment,  every  mind  is  absorbed  in  the  great  question.  Who  shall 
be  leaders  ?  Fortunate,  in  such  cases,  if  there  happens  to  be  any 
one  singer  so  prominent  and  popular  as  to  unite  the  whole,  for  a 
chorister  or  general  leader ;  for,  in  the  history  of  choirs,  one  gentle- 
man was  formerly  deemed  sufficient  to  lead  the  whole ;  but  in  latter 
days,  custom  requires  one  or  more  on  each  part  of  the  music.  In 
this  case,  the  excitement  was  often  intense,  for  the  time  being ;  and 
what  rendered  it  more  interesting  and  animating  was  the  fact  that 
the  ladies  were  permitted  to  take  part  in  the  choice  and  to  vote ; 
besides,  there  was  not  a  little  anxiety  about  disposing  of  the  old 
singers.  Common  civility  seemed  to  require  that  they  should 
share  in  the  honors  of  office ;  but  the  new  school  had  enough  among 
their  number,  as  they  supposed,  qualified  to  fill  all  offices,  and  even 
to  sing  without  any  assistiiuce  from  those  more  experienced. 

CHOICE   OF   OFFICERS. 

The  time  arrives,  —  they  meet.  They  who  have  taken  part  in 
such  scenes,  and  expected  promotion,  can  best  describe  the  emotions. 
The  former  leaders  expected,  and  had  a  right  to  expect,  that  duo 
notice  would  be  taken  of  them.  But  the  thought,  if  not  the  lan- 
guage, of  the  majority  was,  "  We  don't  want  these  old  singers  among 
us.     These  old  bigots  will  always  be  complaining  of  every  smile 


104  MUSIC   IN   CHURCHES. 

and  whispe».  We  can  do  well  enough  without  them.  Besides, 
they  have  sung  long  enough,  and  ought  to  step  out  of  the  way." 
This  has  been  too  often  the  language  of  those  wishing  for  an  office 
for  themselves  or  some  friend ;  but  the  more  considerate  think  it 
beet  to  compromise  and  divide  the  honors.  The  election  being 
over,  some  are  sorely  disappointeil,  and,  with  a  wounded  spirit, 
they  turn  their  backs  on  the  whole,  the  next  Sabbath. 

HIGHEST    SEATS. 

In  connection  with  the  choice  of  leaders  is  that  of  seating  the 
singei-s,  both  leaders  and  their  assistants  in  each  part.  Every 
singer  who  has  been  a  member  of  a  choir  knows,  that  amonf;  sinsx- 
ers,  as  well  as  at  feasts,  there  are  seats  that  are  regarded  as  the 
uppermost,  which  are  looked  upon  and  sought  after  with  jealous 
and  longing  eyes,  —  especially  by  those  who  can  make  themselves 
prominent  only  by  their  location  ;  while  those  who  sing  best  care 
but  little  where  they  are  placed,  for  with  their  voices  they  can 
command  the  attention  and  notice  of  hearers.  But,  after  all,  this 
placing  or  seating  the  choir  disaflfocts  some,  who,  the  next  Sabbath, 
are  among  the  absent,  virtually  saying,  "If  I  cannot  have  the  seat 
I  choose,  where  to  sing  God's  pi-aise  in  the  church,  I  will  not  sing 
at  all."  It  would  be  well,  perhaps,  for  teachers  to  impress  on  the 
minds  of  scholars,  beforehand,  that  the  highest  seat  in  a  choir  is 
where  the  best  singer  sits,  no  matter  where  it  is  located.  As  this 
subject  has  caused  more  altercation  than  almost  any  other,  we 
recommend  for  uneasy  spirits  the  hearing  or  reading  of  the  follow- 
ing incident,  which  may,  j>crhaps,  prove  a  sovereign  remedy.  We 
hope  to  be  excused  for  introducing  the  ladies  as  prominent  actors  ; 
it  is  not  because  they  are  the  more  guilty,  but  because  the  picture 
presented  is  not  easily  eflfaced  from  the  memory,  connected  with 
the  circumstances. 

REMEDY    FOR   THOSE    WHO    CONTEND    FOR    SEATS. 

A  certain  choir  had  made  choice  of  three  treble  leaders ;  but 
unfortunately  it  was  a  general  ticket,  —  no  first,  second,  or  third. 


MUSIC  IN  CHURCHES.  105 

Being,  therefore,  equals,  the  first  one  that  arrived  in  church  took 
what  was  understood  to  be  the  highest  seat,  of  course,  and  no  one 
had  a  legal  right  to  say,  "  move  down."  This  answered  the 
purpose,  at  least,  of  making  them  punctual ;  and  they  did  not 
wait  for  the  tolling  bell,  but  hastened  to  secure  this  envied 
seat.  Ono  of  the  throe  happening  to  live  near  the  church,  and 
where  the  others  had  to  pass  had  only  to  be  preparal,  and,  when 
they  came  in  sight,  to  hasten  forward  and  lead  them  into 
the  meeting-house,  whatever  might  be  her  talent  to  lead  them  in 
the  choir.  On  a  certain  Sabbath,  the  moment  arrived ;  and  while 
putting  on  the  last  glove,  she  heard  the  request,  or  command, 
"  bring  down  grandma's  bonnet."  She  caught  it  instantly,  placed 
it  on  the  top  of  her  own,  while  she  adjusted  everything  to  her  mind, 
and  hurried  down  stairs ;  her  competitors  gaining  ground,  there 
was  no  time  to  be  lost,  —  grandma's  bonnet  was  forgotten,  and  she 
hurried  on,  doubly  crowned.  It  was  an  old-fashioned  country 
meeting-house,  with  the  entrance  to  the  galleries  at  each  end. 
After  entering,  she  had  some  distance  to  walk,  before  arriving  at 
the  front  gallery.  There  were  a  few  singers  present ;  they  smiled, 
and  their  smiles  soon  turned  to  laughter.  She  was  provoked,  — 
turned  about  scornfully,  —  went  down  stairs,  and  took  a  seat  in  a 
pew  in  the  broad  aisle.  In  a  few  moments,  a  little  sister  came 
and  whispered  in  her  ear,  —  "  grandma  wants  her  bonnet."  The 
remainder  of  the  scene  and  feelings  we  will  leave  for  imagination 
to  supply. 

CASTE   AMONG   SINGERS. 

Caste  is  often  felt  in  this  country,  especially  among  church 
choirs,  although  it  does  not  show  itself  in  the  same  form  as  in  some 
distant  lands.  It  would  be  strange  to  hear  any  individual  object 
to  meeting  those  of  different  standing  in  society  in  the  church  or 
prayer  meeting ;  and  there  can  be  no  reason  given  why  all  cla.sses 
should  not  meet  with  the  siime  cordiality  to  sing  God's  praise.  But 
we  regret  to  say  it  is  not  so.  In  country  towns  and  parishes,  all 
hands  and  faces  are  alike  exposed  to  the  sun  and  hardened  by  labor, 


106  MUSIC    IN  CHURCHES. 

except  here  and  there  a  professional  man,  such  as  a  doctor,  lawyer 
or  merchant ;  but  they,  being  few  in  number,  and  desirous  to 
court  patronage,  generally  mix  cheerfully  with  the  multitude. 
But,  unfortunately,  among  the  females,  there  must  necessarily  be 
some  who,  to  use  the  softest  term,  are  called  "  help ;"  and  these 
frequently  have  voices  and  skill  excelling  those  who  feel  superior 
to  them.  To  have  one  of  these  noticed  by  the  congregation  or  choir 
would  be  more  than  human  nature  can  conveniently  submit  to, 
and  to  sit  by  their  side  insuflferable ;  and  it  is  not  uncommon, 
at  the  present  day,  to  hear  parents  say,  "  if  such  and  such  indi- 
viduals sit  with  the  singers,  my  children  shall  leave  the  seats."  In 
this  way,  and  for  this  reason,  another  portion  of  singers  leave  the 
choir.  The  old  singers  whom  we  have  mixed  with  the  young,  by 
the  wry  looks  and  cold  treatment  of  the  choir,  added  to  their  levity, 
are  grieved,  disgusted,  and  disturbed  in  their  devotion,  and  retire 
to  their  seats  below.  The  remaining  few  struggle  on,  perhaps, 
many  months,  till  some  prominent  singer  takes  his  seat  below, 
casting  a  significant  look  toward  the  gallery,  seeming  to  say,  "Now 
see  how  you  can  get  along  without  my  help  ! " 

CHOIR   DISPERSED,  WHAT   THE   RESORT. 

Those  who  remain  in  the  choir  lose  their  courage,  and  fail 
to  sing  as  well  as  usual.  So  one  after  another  drops  off,  till 
by  and  by  the  singing-seats,  as  they  are  called,  are  deserted. 
And  now,  what  is  to  be  done,  is  the  question  throughout  the  con- 
gregation. There  are  two  alternatives :  either  to  do  without  sing- 
ing, altogether,  or  for  some  of  the  singers  of  former  generations, 
with  some  few  of  the  considerate  of  the  last  taught,  to  associate 
and  sing  either  in  a  congregational  manner,  or  collected  together  in 
the  gallery  to  unite  their  voices  ;  they  decide  on  the  latter,  and,  if 
their  voices  are,  some  of  them,  tremulous  from  age,  and  not  quite 
so  harmonious,  they  make  respectable  singing.  The  deserters 
look  on  and  sneer,  perhaps;  but  when  they  find  the  singing  is 
likely  to  go  on,  some  return ;  and  in  this  way  they  worry  along 
till  another  season  of  evenings  arrives,  when  another  singing-school 


MUSIC   IN   CHURCHES.  107 

is  organized,  and  the  same  scenes  are  acted  over  again,  with  the 
same  results. 

We  are  quite  sure  that  many  of  our  readers  will  recognize,  in 
the  foregoing  description  of  choirs,  many  features  common  to  all, 
most  of  them  indeed  scenes  that  are  past ;  if  so,  our  hope  is,  that 
our  young  readers  will  read,  consider,  and  avoid  similar  impro- 
prieties. 

FOIBLES    AND    VIRTUES    OF   SINGERS. 

There  always  have  been,  and,  perhaps,  always  will  be,  many 
things  in  choirs  to  complain  of,  if  not  to  condemn, —  freaks  of  pas- 
sion, whims  and  follies;  but  with  them  we  find  an  unusual  combi- 
nation of  virtues,  not  to  be  found  in  any  other  association. 

We  know  that  there  is  difiiculty  and  perplexity  in  transact- 
ing all  the  numerous  little  affaii-s  necessarily  attendant  on  the 
charge  of  a  choir,  or  even  to  be  a  humble  assistant  in  this  part  of 
worship,  and  at  the  same  time  to  keep  the  feelings  in  a  devotional 
frame.  Want  of  familiarity  with  the  tunes  to  be  sung,  fear  of 
failure  to  perform  acceptably  to  ourselves  and  others,  aside  from 
the  vain  ambition  to  please  and  astonish,  —  these,  and  a  multitude 
of  other  circumstances,  all  tend  to  dissipate  the  spirit  of  devotion, 
and  leave  us  mere  performers,  rather  than  worshippers  ;  and  how 
often  are  those  who  listen,  and  are  wrought  into  ecstasy,  and,  per- 
haps, weeping  admiration,  ashamed  when  they  come  to  reflect  that 
pure  devotion  has  had  but  little  share  in  the  act. 

CHANGES    IN    CHOIRS. 

Where  there  have  been  good  choirs  of  singers,  and  of  long 
standing,  the  death  of  some,  and  the  marriage  or  removal  of  others, 
will  sometimes  break  them  up.  A  new  leader  is  selected,  neces- 
sarily ;  he  sets  about  collecting  forces  for  the  ensuing  Sabbath,  and 
scenes  like  the  following  have  often  been  witnessed.  They  gather 
about  the  door  of  the  church  in  the  morning,  to  consult  about 
means  and  measures,  until  the  minister  commences ;  then  all  rush 
to  the  gallery,  and  crowd  confusedly  together.     The  hymn  is  read 


108  MUSIC    IN    CHURCHES. 

—  every  heart  flutters.  The  new-created  chorister  names  a  tune, 
perhaps  not  of  the  right  metre.  Fear  disturbs  his  nervous  system, 
contracts  the  organs  of  sound,  confines  thought,  and  unhinges  rea- 
son. The  pitch  is  given,  but  so  high,  perhaps,  that  when  the 
first  high  note  in  the  tune  is  met,  the  voices  are  found  incapable 
of  reaching  it,  all  are  brought  to  a  halt,  and  have  to  commence 
anew ;  and,  perhaps,  with  no  better  success. 

FAVORITE   J^ADEKS. 

In  some  instances,  where  parties  in  favor  of  this  or  that  one  for 
a  leader  were  nearly  equally  divided,  and  no  means  of  reconcilia- 
tion could  be  devised,  each  party  would  sing  alternately  morning 
and  evening  ;  this  was  a  real  stimulus  for  mastery,  but  the  spirit 
with  which  this  controversy  was  carried  on  we  will  leave  for  others 
to  conjecture.  The  only  benefit  derived  was  the  exertion  to  excel, 
which  led  them  to  practise,  so  that  all  were  benefited  as  singers. 

EXTREME    OBSTINACY. 

But,  SO  far  as  the  -ispirit  manifested  is  concerned,  what  we  have 
said  will  appear  mild  and  childlike,  compared  with  the  following  in- 
stance, which  is,  to  be  sure,  an  extreme  case,  but  yet  true.  A  church 
and  congregation  in  a  country  town,  which  had  been  for'some  time 
destitute»of  religious  service,  had  invited  a  man  to  preach  as  candi- 
date for  a  pastor.  The  singers  in  the  town,  being  more  numerous 
and  better  versed  in  singing  than  is  usual  in  parishes  in  the  country, 
were  called  togetlier  to  prepare  for  the  coming  Sabbath.  But,  alas  ! 
when  the  question  arose,  who  should  be  leader,  they  were  nearly 
equally  divided.  Both  parties  were  determined  to  rule,  and  so 
declared  it,  in  lan^uan;c  too  strono;  to  retract  or  be  misunderstood. 
The  Sabbath  came ;  all  were  present,  and  one-half  took  the  right 
and  the  other  the  left  of  the  railing  between  the  seats  of  the  front 
gallery.  There  was  no  time  for  compromise.  The  clergyman 
read  a  hymn,  —  each  chorister  named  a  tune,  but  not  the  same, — 
each  choir  commenced  their  own  selected  tune,  and  sung  the  words 
to  the  end,  proving  their  decision  of  character,  skill  and  indopend- 


MUSIC    IN    CUCRCHES.  109 

ence  in  music,  whatever  may  be  said  of  their  humility  or  devotional 
spirit.  The  clergyman,  being  amazed,  wisely  omitted  reading  again, 
depriving  them  of  the  privilege  and  pleasure  of  "  trying  titles  the 
second  time,"  This,  perhaps,  was  the  first  and  last  extreme  case 
on  record  ;  but  not  very  difierent  from  another  that  occurred  in 
rmer  days,  when  the  deacon  began  and  read  the  first  line  of 
words,  and  the  singers  went  on  through  the  verse  regardless  of 
his  reading  afterwards.  The  deacon,  after  waiting  a  reasonable 
time,  commenced  reading  the  second  line,  but  finding  it  was  not 
regarded,  he  refrained  from  further  reading,  till  they  were  through 
the  hymn,  when  he  commenced  the  hymn  again,  saying,  "  The 
world's  people  have  sung,  —  now  let  the  Lord's  people  sing;"  and 
the  words  were  sung  over  again,  in  the  old  way.  To  say  nothing 
of  the  solemn  mockery  in  either  case,  it  shows,  in  glowing  colors, 
how  the  will  and  passions  of  man  will  make  him  so  reckless  as  to 
exhibit  them  openly,  in  their  most  hideous  forms,  even  in  the 
house  of  God. 

LOCATION    IN    THE    CHURCH. 

"We  have  now  taken  the  schools  into  the  church,  and  accom- 
panied them  through  some  of  the  scenes  that  are  incident  to  choirs. 
These  scenes  were  not  universal ;  and  fortunate  is  it,  if  the  descrip- 
tion will  apply  to  no  schools  or  choirs  at  the  present  day. 

The  location  of  choirs  in  the  meeting-house,  when  they  were 
first  established,  was  a  source  of  very  considerable  altercation. 
On  examining  old  town-records,  we  find  it  was  not  uncommon  for 
an  article  to  be  inserted  in  their  warrants  for  town-meetings,  to 
see  if  the  town  would  grant  liberty  for  the  singers  to  sit  together 
in  some  convenient  place  in  church.  Also,  to  see  if  they  will  dis- 
pense with  the  words  of  the  psalms  and  hymns  being  read  by  the 
deacons.     Also,  to  choose  some  person  to  raise  the  tune,  &c. 

Meeting-houses,  in  those  days,  usually  had  three  or  four  long 

ats  in  front  of  the  pulpit,  on  each  side  of  the  broad  aisle,  for  the 
aged  and  the  deaf,  and  for  those  unable  to  purchxse  pews.  There 
were,  also,  the  like  kind  of  seats  in  the  galleries,  on  the  right  and 
10 


110  MUSIC   IN   CHURCHES. 

left  of  the  pulpit ;  in  the  front  gallery  sometimes  the  same,  and 
sometimes  square  pews.  AVhich  of  these  seats  should  the  sing- 
ers occupy,  if  allowed  to  sing  as  a  choir,  was  a  serious  question. 
As  the  singing  had  usually  been  performed  on  the  first  floor,  some 
singers  chose  to  continue  there,  and  to  have  two  or  four  of  the  long 
seats  partitioned  oflf,  making  a  long  pew  or  pews ;  and  when  they 
rose  to  sing,  those  on  the  front  scat  would  face  about,  it  being  con- 
sidered important  for  singers  to  face  each  other,  in  order  that  their 
voices  might  mingle  and  harmonize.  This  situation  did  not  suit, 
but  in  a  short  time  their  judgment  and  aspirations  led  them 
higher.  The  next  resort  was  for  liberty  to  sit  in  the  gallery. 
The  front  gallery  was  usually  made  into  pews  owned  by  individ- 
uals, and  so  the  choir  was  obliged  to  take  one  of  the  side  galleries ; 
but  this  was  sitting  rather  too  much  sideways  from  the  minister ; 
besides,  one  part  of  the  congregation  could  not  see  them ;  so  that 
there  was  no  rest  till  they  gained  occupancy  of  the  gallery  in  front 
of  the  minister.  Nor  was  it  so  easy  a  matter  to  obtain  these  pews. 
On  one  occasion  of  this  kind  within  our  knowledge,  two  or  three 
of  those  who  had  been  accustomed  to  occupy  the  scats  refused  to 
give  place  to  the  intruders.  One  old  man  in  particular,  who  had 
occupied  the  middle  of  the  front  seat,  was  found  in  his  usual  place, 
which  brought  him  cheek  by  jowl  with  the  leader.  But,  whether 
by  design  or  accident,  the  leader's  fiddle-bow  so  frequently  got 
entangled  in  the  old  man's  grey  locks,  that  he  was  at  last  forced 
to  give  up.  Sometimes  the  pews  were  made  use  of  as  they  stood. 
In  this  case,  every  one  rose  in  their  place,  and  thus  stood,  from 
necessity,  in  hollow  squares,  face  to  face  and  back  to  back.  This 
did  not  answer ;  —  the  pews  were  ere  long  demolished,  and  long 
seats  substituted,  with  one  partition  in  the  centre,  to  separate  the 
ladies  from  the  gentlemen. 

More  recently,  houses  have  been  constructed,  in  some  instances, 
so  as  to  give  the  singers  a  gallery  directly  behind  the  minister. 
This  position  for  the  singers  has  been  generally  abandoned,  and 
the  front  gallery  established  as  the  singers'  home  in  church;  and 
every  acconnnodation  has  been  provided,  such  as  curtains,  sofas, 


MUSIC   IN    CnUBCIIES.  Ill 

cushions,  for  their  ease  and  comfort  while  sitting,  and  places  for 
their  books,  whether  sitting  or  standing,  —  very  unlike  the  accom- 
modations of  our  fathers. 

Curtains  of  different  widths  and  dimensions,  from  one  to  six  feet 
in  height,  have  been  placed  hi  front  of  the  singers,  within  the  last 
thirty  years.  At  first  they  were  used  to  hide  the  books,  and  the 
necessary  moving  of  the  same,  connected  with  an  inclination  to 
hide  the  singers,  —  not  to  mention  particularly  their  conduct, — from 
the  congregation.  We  have  seen,  in  some  cities,  where  professional 
singers  were  employed,  curtains  that  reached  above  the  heads  of 
all,  as  though  they  were  ashamed  to  be  seen  singing  psalm-tunes 
in  a  church  on  the  Sabbath,  thougli  they  probably  would  not  hesi- 
tate to  be  seen  on  the  stage  of  the  theatre  through  the  week. 

ONE    LEADER. HIS   RESPONSIBILITY. 

Choirs,  for  more  than  half  a  century,  were  satisfied,  as  we  have 
said,  with  one  leader,  or  chorister,  sometimes  chosen  by  the  town, 
sometimes  by  the  church,  sometimes  by  those  who  joined  them  in 
singing.  Others  occupied  the  post,  by  a  sort  of  common  consent, 
on  account  of  their  skill  or  courage,  the  latter  being  frequently 
wanting.  Before  choirs  were  formed,  it  required  no  little  experi- 
ence and  self-possession  for  a  man  to  rise  up  in  the  midst  of  a  sit- 
ting congregation,  and  lead  off  a  tune,  when  a  failure  in  the 
attempt  would  oppress  his  spirits  for  the  week  ;  and  when  choirs 
were  first  introduced,  it  was  expected  of  a  leader,  or  chorister,  to 
sound  the  key-note,  and  then  give  the  pitch  successively  to  other 
parts ;  and  all  this,  too,  without  any  artificial  aid  of  pipe  or  string. 

HIS    PLACE    IN    THE   SEATS. 

Beside  this,  his  place  in  the  choir  was  on  the  front  seat,  facing, 
when  he  commenced,  both  minister  and  congregation;  and,  withal, 
he  was  expected  to  beat  time  conspicuously,  in  some  way.  lie 
sang  what  is  now  called  by  different  names  —  air,  treble,  soprano 
—  then  called  the  tenor,  and  had  next  him,  by  his  side  and  behind, 
the  most  experienced  of  the  performers,     The  ladies,  or  treble. 


112  MUSIC   IN   CHURCHES. 

were  on  his  right  when  sitting ;  but,  as  they  rose  to  sing,  and  those 
in  the  front  scat  turned  their  backs  on  the  congregation,  the  order 
was  reversed ;  and  when  a  fugue  commenced,  his  motions  and 
activity,  in  turning  from  one  part  to  another,  to  give  them  the 
catch-note,  were  then,  and  would  be  now,  astonishing  to  an  igno- 
rant spectator,  but  only  amusing  to  those  acquainted  with  music. 
But  this  activity  was  the  proof  of  his  musical  spirit  and  skill. 
We  shall  retain  him  in  the  front  seat  of  the  front  gallery  till 
within  thirty  years,  singing  the  air ;  and  there  he  is  found  at  the 
present  day,  singing  the  same  part,  in  many  regions  of  the  coun- 
try. 

METHOD   OF   FINDING   AND   ESTABLISHING    THE   PITCH    OF    A    TUNE. 

About  forty  years  ago,  to  assist  the  chorister  in  finding  or  mak- 
ing the  sound  for  the  pitch  of  the  tune,  some  simple  artificial  means 
were  made  use  of,  such  as  a  pipe,  reed,  or  fork,  which  sounded 
one  note  or  letter  only.  If  this  note  did  not  happen  to  be  the 
key  of  the  tune  about  to  be  sung,  it  required  no  little  skill  to  find, 
from  that  sound,  the  wished-for  note.  After  it  was  found  and 
established,  by  all  uniting  and  sounding  it,  then  came  a  more  dif- 
ficult operation,  to  be  performed  by  the  whole  choir,  which  was, 
to  call  the  notes  by  name,  thus : 


^ 


S tv^^ 


I     "'[-  ..:^=;3 


Z^ISS 


-tar-=l 


This  exercise  was  considered  necessary,  in  order,  as  it  was  said, 
to  fix  the  key  of  the  tune  in  the  mind,  by  sounding  the  common 
chord.  This  being  done,  when  all  was  hushed  the  leader  gave  to 
each  part  their  introductory  note,  or  pitch,  to  commence  without 
further  ceremony.  Do  this  method  and  exercise  appear  to  the 
reader  a  mere  formality?  If  so,  what  may  be  said,  some  tliirty 
years  hence,  when  it  shall  be  told  that,  in  order  to  fix,  not  only  the 
key,  but  the  whole  tunc,  in  the  mind,  organs  or  instruments  now 
rehearse  the  whole  tune  before  singing  ? 


Urusic  riJ  ciicBCiiES.  113 

TUNES    COMillTTED   TO    MEMORY. 

This  parade  in  commencing  a  tune  may  be  accounted  for,  in 
some  measure,  by  the  fact  that  no  singing-book  or  notc-lxx)k  was  to 
be  seen,  except  the  one  sometimes  in  the  hands  of  the  chorister,  to 
assist  him  in  selecting  the  tunes ;  and  lest  that  should  be  found 
too  cumbersome,  he  would  usually  write  the  tunes  used  on  the  Sab- 
bath in  a  manuscript ;  or,  what  was  more  likely,  write  the  names 
only  of  4he  tunes,  with  the  addition  of  the  letter  of  the  key,  and  a 
flat  or  sharp  to  designate  the  key  of  each  tune.  Every  tune,  be- 
fore it  was  sung  in  church,  was  committed  to  memory,  either  at 
the  singing-school  or  by  the  fireside  (for  there  were  no  choir 
rehearsals),  by  singing  it  over  some  twelve  to  twenty  times  by 
note,  and  then  by  applying  the  words.  And  a  teacher  or  leader, 
who  had  to  look  at  notes  when  teaching  others,  was  consideral 
incompetent.  Another  reason  was,  that  the  tunes  sung  in  former 
days  were  generally  so  rapid  that  there  wa^  no  time  to  pass  the 
eye  from  the  tune  to  the  words. 

When  the  ancient  music  was  revived,  near  the  commencement  of 
the  present  century,  those  who  had  been  habituated  to  sing  rapid 
music  found  it  diflacult  to  commit  to  memory  slow  choral  tunes, 
and  it  was  common  to  hear  the  saying, "  How  can  we  learn  them  ? 
there  is  no  tune  to  them." 

ADVANTAGE    OF    COMMITTING    TO    MEMORY. 

Whether  singers  are  capable  of  giving  as  much  expression  to 
words,  when  obliged  to  read  notes  and  apply  words  at  the  same 
time,  or  not,  is  a  question  for  others  to  answer.  But  we  have 
seen  instances  where  it  was,  to  say  the  least,  very  doubtful.  A  cer- 
tain individuid,  a  few  years  since,  witnessed  a  scene  in  church  as 
follows  :  A  book  of  notes  being  placed  before  two  singers,  one 
stood  directly  in  front  of  it;  the  other,  of  course,  had  to  look  side- 
ways. They  commenced  a  tune  that  was  not  very  slow  in  utter- 
ance ;  soon  the  attention  was  attracted  by  a  head,  flying  from  right 
to  left,  like  a  shuttle,  at  every  note.  First,  the  eye  glanced  at  tife 
words,  then  at  the  notes,  during  the  hymn  ;  and  we  then  thought 
10=^ 


114  MUSIC   IN   CHURCHES. 

that,  amid  this  rapid  vibration  of  the  head,  there  could  not  have 
been  much  time  to  think  or  feel.  Such  is  the  constant  changing 
of  tunes,  that  a  choir  cannot  be  expected  to  commit  to  memory  all 
the  tunes  sung  in  church ;  still,  we  cannot  but  think  that  when 
clergymen  are  scarcely  allowed  to  look  at  a  sermon  of  thirty  or 
forty  pages,  it  would  seem  that  individual  singers  might,  with 
some  propriety,  be  expected  to  commit  the  few  notes  of  a  tune,  or 
make  it  so  fiimiliar  as  not  to  be  obliged  to  hold  a  note-book  and  a 
hymn-book  in  their  hand ;  some  wide  open,  some  doubled  back, 
and  the  eyes  of  every  one  (if  the  head  is  kept  still)  glancing  from 
one  book  to  the  other.  If,  as  a  certain  writer  says,  much  of  the 
expression  of  words  and  sentiment  depends  on  the  expression  of 
the  countenance,  all  this  must  be  lost  in  such  a  case.  It  is  true, 
all  these  appearances  and  customs  are  trifling  to  the  singer,  if  the 
heart  is  right,  but  to  the  hearer  and  observer  not  so  interesting. 

MULTITUDE    OF   BOOKS   AT    THE    PRESENT    DAY. INCOXVENIENCES. 

As  schools  increased,  books  increased  also ;  and  as  books  increased, 
so  the.  disposition  to  sing  a  multitude  of  tunes.  At  the  present 
day,  the  singers'  gallery  is  flooded  with  books,  and  there  are  piles 
on  piles,  on  the  seats  and  under  the  seats,  that  have  had  their 
day,  and  arc  laid  aside.  But  let  us  watch  the  movements  of  a 
choir.  In  each  of  the  piled-up  and  cast-away  books,  there  are 
some  favorite  tunes  ;  and  every  now  and  then  it  happens,  from  the 
fancy  of  the  chorister  or  the  importunity  of  some  of  the  choir,  that 
nothing  will  do  bat  that  some  particular  tune,  from  a  particular  book, 
should  be  sung  to  some  particular  words;  for  the  prejudice  of  some 
is  so  strong,  that  a  favorite  tune  would  not  be  acceptable,  or  sung  in 
good  humor,  from  any  other  than  their  favorite  book.  Let  us  look 
at  a  choir  on  some  such  occasion.  They  have  just  sung  a  hymn  to 
a  tune  in  the  books  at  hand.  Another  hymn  is  read.  The  chor- 
ister, organist,  or  some  influential  singer,  thinks  of  a  tune  in  another 
book ;  just  before  the  reading  is  closed,  the  tune  is  found  by  the 
^orister ;  and  then  the  pulling,  hauling,  turning,  and  slapping  of 
books,  in  selecting  and  passing  them  round,  put  in  requisition  two 


•  MUSIC  IN  cmmcHES.  115 

or  three  of  the  most  dexterous  hands  !  Nearly  all  have  boon  too 
anxious  to  hear  the  name  of  the  book,  page^nd  tune,  to  hear 
the  minister's  directions.  It  would  seem,  in  such  cases,  that  the 
change  of  books  was  made  for  no  other  purpose  than  to  make 
it  appear  as  if  there  was  such  an  exquisite  taste  for  adaptation,  that 
such  a  tune,  and  no  other,  would  give  any  expression  to  the  words ; 
but  we  are  slow  to  believe  that  there  is  not  a  suf&eient  variety  in 
any  one  collection  to  answer  for  one  half-day.  But  this  is  not  all ; 
before  the  tune  is  found  and  commenced,  the  patience  of  the  con- 
gregation is  exhausted  ;  the  minister  is  in  doubt  whether  to  wait 
longer,  or  go  on  with  the  other  services.  The  choir,  having  a  major- 
ity in  readiness,  commence ;  some  having  the  tune,  others  trying 
to  find  it,  fumbling  their  books  and  grumbling  along,  with  the  tune 
half  sung,  and  words  half  spoken ;  and,  when  all  are  at  last  pre- 
pared, they  move  on  with  great  power,  the  delinquents,  one  after 
another,  be^ning  with  mmsual  energy,  —  when,  lo  !  it  is  found 
that  some  are  singing  one  verse,  and  some  another,  for  the  minister 
had  directed  a  verse  to  be  omitted.  They  look  and  almost  sing 
daggers  at  each  other  ;  but  it  Is  of  no  use,  —  all  is  confusion  till 
the  verse  ends  ;  then,  perhaps,  they  are  prepared  to  sing  together. 
It  is  easy  to  judge  whether  this  is  a  necessary  or  a  self-made  per- 
plexity.   - 

SAME   TUNES   WILL   NOT   SUIT   ALL. 

It  is  as  nmch  impossible  for  all  to  be  pleased  with  the  same 
tune,  as  to  find  all  men  to  look  alike ;  and  it  would  seem  that 
those  who  took  part  in  the  solemn  service  of  singing  God's  praise 
would  not  be  very  tenacious  in  regard  to  the  particular  tune  used 
i  for  the  purpose.  But  it  is  not  always  so ;  oftentimes,  when  a 
tune  has  been  named,  individuals  will  give  evidence,  by  their 
countenances  or  motions,  that  they  were  displeased.  The  book 
will  be  opened  with  violence,  and  they  will  rise  with  reluctance. 
It  so  happens  that  singers  have  extremely  expressive  counte- 
nances, and,  when  anything  displeases,  they  have  no  need  of 
speaking  out,  —  their  looks  speak  loud  enough.  Some  of  the  choir 
will  be  so  conscientious  (to  call  it  by  no  harder  name),  that  they 


116  MUSIC   IN    CHURCHES.  • 

will  not  rise  to  sing,  not  thinking  that  if  they  had  the  privilege 
of  proposing  a  tun^  which  all  disliked,  they  would  be  left  alone,  if 
others  followed  their  example. 

Restless'  spirits  are  to  be  found  in  almost  every  choir,  who  are 
always  teasing  to  have  some  tune  sung  that  the  choir  cannot  sing ; 
but  because  they  have  learned  it,  there  is  no  peace  till  the  attempt 
is  made.  We  had  rather  hear  Old  Hundred  twice  on  a  Sabbath, 
than  to  hear  a  choir  stumble  through  and  half  sing  a  tune,  be  that 
tune  ever  so  good  when  well  sung. 

DEMEANOR    OF    SINGERS    IN    CHURCH. 

We  cannot  explain  the  reason,  but  we  presume  the  fact  is  known 
and  read  by  all  men,  that  the  conduct  of  choirs  of  singers,  both  in 
city  and  country,  was  formerly  unworthy  the  place  they  occupied. 
Themselves  being  judges,  it  has  been  such,  to  say  the  least,  as  they 
would  condemn  in  those  who  occupied  the  lowest  seaffln  a  congre- 
g*ation,  and  would  be  regarded  as  scandalous  if  seen  among  the 
higher  class  of  hearers.  They  have  ever  seemed  to  conduct  as 
though  they  considered  themselves  privileged  above  others,  and  not 
subject  to  common  rules  of  propriety,  but  designated  merely  to 
sing  the  hymns,  and  that  then  their  duty  was  done.  We  will 
make  all  due  allowance  for  the  necessity  that  sometimes  happens, 
in  communicating  the  tune,  page,  hymn,  and  giving  and  receiving 
other  necessary  directions,  when  about  to  commence  singing ;  and, 
if  the  privilege  would  stop  here,  we  could  pass  over  and  forgive  it; 
but  the  tongue  once  at  liberty,  docs  not  so  easily  stop.  And  it  is 
often  said,  that  the  cuitains  were  not  so  much  wanted  to  conceal 
the  person  from  the  gaze  of  the  congregation,  as  to  hide  unwarrant- 
able levity  during  the  services.  We  should  regret  that  any  one, 
a  stranger  to  our  modes  of  worship,  should  have  a  glance  behind 
them,  and  see  the  billets  circulated,  the  poetry,  pictures  and  draw- 
ings of  every  description,  executed  on  the  blank  leaves  of  the  hymn 
and  note  books.  Let  any  one  examine  the  books  of  almost  any 
choir,  and  he  would  be  led  to  conclude  that  there  were  poets,  lim- 
ners, and  artists  of  every  grade  and  kind,  among  the  singers. 


MUSIC   IN   CHURCHES.  117 

« 
FAULT    SOMETIMES   IN    THE    LEADER. 

This  manner  of  spending  tinie,  and  amusing  one  another,  may 
.  ly  often  be  attributed  to  the  chorister,  or  leader.,  He,  perhaps, 
Bets  the  example  and  leads  the  way,  by  being  continually  cngjiged, 
during  divine  service,  in  giving  directions,  tumbling  over  the  books 
to  select  tunes,  and  then  humming,  whistling,  or  breathing  them 
over.  He  being  leader,  what  he  does  all  may  do ;  and  when  all 
1 1  are  busily  engaged  in  their  several  time-killing  occupations,  no  one 
will  dispute  the  propriety  of  their  being  in  a  secluded  situation. 

This  picture  and  management  is  fitted  especially  for  the  meridian 
of  New  England,  as  we  have  said  before ;  but  we  may  say,  without 
mach  fear  of  contradiction,  that  it  will  apply,  at  some  period,  to 
every  choir  in  the  hemisphere. 

IRREVERENCE   OF    CHOIRS. 

"  The  result  of  my  observations,"  says  a  minister  of  the  gospel, 
"  is,  that  there  is  a  great  lack  of  devotion  (not  to  say  of  common  good 
breeding)  in  the  choirs  of  all  our  denominations.  Especially  is  this 
manifested  by  smiling  and  whispering,  and  looking  over  tune-books, 
in  the  time  of  sermon.  I  once,  in  a  strange  church,  had  before  me 
a  leader,  who  formerly  took  up  his  tune-book  as  soon  as  I  had 
I  named  the  te^t,  and  began  poring  over  it.  Seeing  some  little  boys 
of  the  Sunday-school  similarly  engaged,  I  took  occasion  mildly  to 
reprove  them,  and  noticed  that  the  offender  in  the  gallery  took  the 
hint,  and  mended  his  manners.  A  thousand  times  would  I  prefer 
the  precentor,  as  I  have  seen  him  in  the  Presbyterian  churches  in 
Ae  South,  in  the  front  of  the  pulpit,  rise  and  lead  the  congregation, 
jto  the  best-trained,  most  exact,  scientific,  undevout  choir  in  the 
I  land." 

I  "  Many  years  ago,"  says  a  writer  in  a  New  York  paper, "  I  boarded, 
iwhen  very  young,  with  a  family  in  the  South,  the  head  of  which 
I  was  the  organist  in  the  church.  Not  being  attached  to  any  church 
iorform,  I  sometimes  attended  divine  service  with  him,  and,  for  con- 
|Venience,  sat  in  the  organ-loft.  As  I  do  not  mention  names  or 
iplaces,  it  is  no  breach  of  confidence  to  reveal  the  secrets  with  which 


118  MUSIC   IN   CHURCHES. 

I  became  acquainted,  as  connected  with  the  choir.  The  loft  was 
railed  in,  and  furnished  with  substantial,  thick,  crimson  curtains, 
which,  when  drawn,  were  sufficient  to  exclude  -soilgar  eyes  from 
the*  hallowed  interior. 

"  It  was  customary,  when  the  excellent  ritual  of  devotion  was 
gone  through,  and  the  rector  had  named  his  text,  for  the  singers 
to  draw  the  curtain  around  them,  and  read  or  sleep,  as  it  suited 
them  best.  In  very  warm  weather  they  also  took  care  to  be  supplied 
with  refreshments  ;  and  thus  the  tedious  half-hour  allotted  to  the 
sermon  was  pretty  easily  consumed,  without  much  weariness.  I 
recollect  that  one  very  warm  Sabbath  afternoon  the  singers  had 
water -meloiis  and  lemonade^  wherewith  to  console  themselves ; 
and  it  happened  that  one  of  the  gentlemen,  in  handing  a  slice  to  a 
lady  singer,  overset  the  pitcher  of  lemonade.  This  might  not  have 
been  of  nmch  consequence,  had  the  floor  of  the  organ-loft  been 
liquor  tight.  But  there  were  many  chinks  in  it,  and  the  lemonade 
trickled  through  pretty  freely  down  into  the  broad  aisle,  to  the 
discomfiture  of  the  rector,  and  such  of  his  congregation  as  were 
wakeful  enough  to  notice  passing  events." 

In  conclusion,  we  will  venture  to  mention  one  or  two  extreme 
cases  of  impropriety,  where  most  of  the  singers  in  »  choir  were 
hired  servants,  of  course  not  numerous.  The  gentlemen,  aft«r 
the  second  singing,  were  known  to  retire  stealthily  from  the  gallery 
at  the  commencement  of  the  sermon,  for  the  purpose  of  spending 
their  time  more  at  ease  in  a  neighboring  refectory,  and  return  in 
season  to  perform  the  last  tune  with  additional  spirit,  but  sometimes 
too  late.  We  once  knew  an  organist  so  out  of  tune  and  balance  as 
to  fall  from  his  seat  backward  among  the  singers  ;  the  consequence 
may  be  easily  conceived,  but  would  not  look  very  becoming  on 
paper. 

These  strange  scenes  and  inconsistencies  we  hope,  and  have  reason 
to  believe,  have  passed  away,  and  are  among  the  things  that  were. 


CHAPTER  VIII. 

PROGRESS  OF  MUSICAL  INSTRUCTION. 

Change  of  Music,  and  Discussions.  —  Predominance  of  Old  School.  —  Struggle 
for  Possession  of  the  Seats.  —  Refonnation  in  Teaching  and  Music.  —  Attempt 
to  Uarmonizc  correctly.  —  The  Public  Interested.— Change  of  Books.  —  Tenor 
Voices  put  in  Place. —  Example  in  a  School.  —  Lectures.  —  Children  taught. 
—  Objections  of  Parents.  —  First  Juvenile  Schools.  —  Saying  of  Horace  Wal- 
polo.  —  Xew  Methods  of  Teaching,  and  Xew  Music  for  Children.  —  Probable 
Defects  in  Instruction. —  Exhibitions  of  Children's  Singing.  —  Excitement 
abated.  — Means  for  Instruction  still  limited.  —  Step  towards  Congregational 
Singing. 

CHANGE   OF   MUSIC,    AND    DISCUSSIONS. 

Soon  after  the  commencement  of  the  present  century,  when 
more  just  ideas  of  sacred  music  began  to  be  entertained,  and  a  few 
publications  containing  ancient  music  had  been  introduced  to  the 
public,  the  subject  was  canvassed  at  social  meetings ;  animosities 
as  bitter  as  in  any  jtolitical  combat  arose  between  the  fiigueing  and 
Old  Hundred  singers,  as  they  were  called. 

i  OLD    HUNDRED    SECEDERS. 

'  The  latter,  who  had  seceded  from  the  music  that  had  prevailed 
t  for  forty  years,  moved  on  calmly  but  decidedly  ;  formed  societies ; 
•  sung  in  public ;  had  addresses  from  some  of  the  worthiest  of  men 
in  the  community,  setting  forth  the  propriety  and  necessity  of  a 
change  in  the  character  of  music  in  the  churches.  Although 
every  attempt  was  made  by  their  opponents  to  thwart  the  doings 
of  the  reformers,  still  they  persevered,  and  the  effect  and  influence 
of  their  doings  spread  from  town  to  town,  till  all  New  England 
was  more  or  less  affected.  It  was,  emphatically,  "  Old  School " 
and  "  New  School."     And,  in  numerous  towns,  schools  of  each 


120  PROGRESS  OF    MUS|^L    INSTRUCTION. 

• 

denomination  were  raised  and  put  in  operation,  side  by  side. 
All  this  excitement,  however  unpleasant,  tended  to  awaken  an 
interest,  and  produce  examination  and  practice  in  music  ;  so  that 
whatever  the  cause  might  have  been  that  moved  to  action,  the 
public  were  advancing  in  the  art,  and  J»he  cause  was  promoted. 

OLD    SCHOOL   PREVAILED. 

The  result  was,  that  in  proportion  to  the  amount  of  experience 
the  more  were  there  accessions  to  the  ranks  of  the  old  school ;  so 
that  in  three  or  four  years  from  the  commencement  of  the  reform, 
we  could  seldom  hear  of  a  congregation  where  the  former  popular 
music  prevailed. 

STRUGGLE    FOR   POSSESSION    OF    SEATS. 

When  schools  of  different  character  had  been  taught  in  the 
same  town  or  parish,  and  had  closed,  then  came  the  struggle  for  a 
place  in  the  church.  Sometimes  the  right  was  determined  by 
numbers ;  sometimes  neither  party  had  strength  and  talent  enough 
to  proceed  separately ;  then  a  compromise  would,  perhaps,  take 
place ;  but  they  could  no  more  mix  than  water  and  oil,  and  one 
or  the  other  party  must  by  and  by  prevail  and  control.  The  con- 
sequence was,  that  in  most  instances  the  music-books  of  the  dark 
age  were  laid  on  the  shelf,  and  the  dust  on  them  was  seldom  after- 
wards disturbed. 

REFORMATION    IN    TEACUING   AND    MUSIC. 

The  method  of  teaching  continued  much  the  same  for  many 
years,  except  that  a  natural  progress  resulted  from  experience  in 
communicating  instruction  more  fully  in  the  theory  of  music  ;  and 
every  new  publication  attempted  to  improve  their  introductory  les- 
sons. About  the  year  1822,  was  the  first  appearance  of  "  Templi  _ 
Carmina,"  witli  the  rudiments  of  music  in  the  form  of  questions  ■ 
and  answers,  which  was  substantially  what  we  had  before  pub- 
lished, in  a  pamphlet,  for  our  own  convenience  in  schools. 


PROGRESS   OF   MUSICAL    INSTRUCTION. 


ATTEMPT    TO    HARMONIZE   CORRECTLY. 


121 


The  harmony  of  the  tunes,  where  gross  errors  appeared,  was 
cautiously  corrected ;  but  still,  those  who  did  not  know  the  differ- 
ence, doubted  the  expediency  of  it,  and  even  the  competency  of 
those  who  ventured  to  make  any  change. 

The  common  saying  that  had  prevailed,  that  "  Americans  did 
not,  and  could  not,  know  anything  of  the  science  of  music,"  had 
been  so  long  sounded  in  the  ear,  that  all  were  slow  to  believe  that 
others  knew  better  than  themselves,  and,  therefore,  could  know 
little  or  nothing. 

PUBLIC    INTERESTED. 

Singing-schools  now  assumed  somewhat  of  a  different  character. 
The  object  and  solemnity  of  church  music  began  to  ])e  seriously 
contemplated.  Ministers  and  officers  of  the  church  began  to 
'  Kpress  their  views  and  feelings  on  the  subject.  And  the  public 
;_;^^;nerally  began  to  be  interested  in  the  cause.  As  evidence  of 
this,  we  could  occasionally  hear  that  an  article  was  inserted  in  the 
warrant  for  town-meeting,  to  see  if  the  tmvn  would  raise  money, 
some  fifty  to  seventy-five  dollars,  for  the  encouragement  and  sup- 
jjort  of  the  music  in  the  church.  This  was  something  new,  and 
caused  much  altercation  in  towns  and  parishes,  when  first 
proposed.  As  might  be  expected,  it  was  sometimes  granted  and 
sometimes  refused. 

CHANGE   OF    BOOKS. 

It  was  a  long  time,  however,  before  the  habits  and  customs  of 
-thools  could  be  materially  changed.  In  addition  to  the  }x>oks 
that  we  have  mentioned,  as  being  collected  and  published  under 
the  patronage  of  societies,  there  were  many  others,  containing  a 
variety  of  music  designed  to  suit  the  tastes  of  all,  with  a  sufficient 
number  of  tunes  of  different  character  for  all  practical  puriKDscs, 
such  as  "  Bridgewater  Collection,"  "  "Worcester  Collection,"  "  Vil- 
lage Harmony,"  with  the  arrangements  of  the  parts  much  im- 
proved. 

11 


122  PROGRESS   OF  MUSICAL  INSTRUCTION. 

TENOR   VOICES   PUT   IN   PLACE. 

One  of  the  first  steps  that  agitated  the  singing  community,  was 
that  of  giving  the  air  or  leading  part  of  the  tune,  usually  called 
Treble,  or  rather  the  tune,  to  the  females ;  this  was  an  interfer- 
ence with  the  rights  of  man,  not  readily  acceded  to,  especially  by 
those  who  had  tenor  voices  and  had  always  sung  the  air.  They, 
of  course,  claimed  it  by  possession.  And,  as  in  all  other  innova- 
tions, the  question  was  asked  with  petulance,  "  What  better  is  it  ? 
We  have  always  sung  the  part,  and  the  singing  has  been  pronounced 
good  by  all."  And  the  general  want  of  information  in  regard 
to  harmony  rendered  it  diJB&cult  for  any  one  to  give  reasons,  so  as 
to  be  understood,  even  if  an  explanation  was  desired ;  and  if  made 
to  be  understood,  it  was  still  more  difficult  to  reconcile  persons  to  the 
practice.  No  teacher  had  previously  enforced  the  rule  and  practice 
in  schools  but  Andrew  Law.  This  change  commenced,  practically, 
about  a  quarter  of  a  century  ago.  For  several  years  previously 
it  had  been  agitated,  and  partially  put  in  operation,  but  it  was 
several  years  after,  before  it  was  fully  adopted ;  and  is  not  yet 
practised  in  many  places  in  the  country.  Some  individuals  who 
had  always  sung  the  air,  either  could  not  or  would  not  sing 
any  other  part.  They  did  not,  perhaps,  go  so  far  as  some  of  our 
forefathers,  who  would  debar  females  from  singing  in  public  alto- 
gether, regarding  it  as  one  manner  of  speaking  ;  still,  they  were  but 
little  less  consistent,  for  many  claimed  the  part  as  their  right,  being 
men,  to  lead ;  and  wrong  for  women  to  sing  the  governing  part. 
But  it  is  futile  to  take  this  ground ;  for  the  voice  of  woman  is  so 
constituted,  that  whatever  part  she  sings  will  be  heard,  call  it  lead- 
ing or  what  you  please.  In  this  one  respect,  if  in  no  other,  men 
must  be  led  by  women.  At  the  time,  there  was  much  written 
on  the  subject;  and  we  have  seen  a  long  and  labored  treatise 
to  prove  it  to  be  wrong,  on  many  accounts,  to  suffer  the  part  to  be 
sung  by  females,  on  the  ground  that  it  was  contrary  to  Scripture, 
and  of  course  a  sin,  for  females  to  take  the  lead  in  singing,  or  any 
other  religious  service. 


PROaRESS   OF   MUSICAL   INSTRUCTION.  123 

EXAMPIJE   IN    A   SCHOOL. 

About  this  time,  we  were  teaching  in  the  vicinity  of  Boston ; 
had  a  numerous  school,  and  many  good  singers;  but  nothing 
could  induce  some  of  the  gentlemen  to  relinquish  the  air  or 
soprano.  Some  of  the  ladies  chose  to  sing  the  tenor,  as  they  had 
heretofore  done.  At  length,  a  public  exhibition  came  off.  The 
editor  of  a  musical  publication  was  present.  In  his  next  number 
he  praised  the  performance  generally,  but  gave  a  severe  and  well- 
deserved  censure  for  this  single  but  obvious  impropriety.  We  not 
only  bore  it  patiently,  but  gladly ;  for  it  proved,  as  we  hoped, 
a  timely  help  to  accomplish,  by  publicly  exposing  the  error,  what 
we  and  others  had  been  trying  to  accomplish,  for  months  and 
years,  in  private  schools.  This  was  a  decisive  blow.  Singers,  after- 
wards, generally  kept  their  voices  to  their  appropriate  parts,  in  this 
region,  but  not  through  the  country.  We  would  not  .say  that  it 
is  unnecessary  for  gentlemen  to  learn  the  air;  for,  in  the  absence 
of  females,  that  part  must  be  sustained  by  them,  in  order  to  make 
singing  acceptable ;  for  a  tune  is  as  unmeaning  without  the  air 
as  a  sentence  without  a  verb. 

LECTURES    INTRODUCED. 

Among  other  means  of  influencing  public  sentiment,  lectures  on 
sacred  music  were  given,  in  New  York  and  Boston,  by  men  well 
qualified  to  present  the  subject  in  all'  its  bearings,  both  as  it 
reg-arded  the  manner  of  performance,  the  duty  of  learning  to  sing, 
and  the  obligation  of  congregations,  churches,  and  ministers  to 
encourage  and  sustain  this  part  of  public  worship.  It  would  seem 
as  if  church  music  were  as  proper  a  subject  for  the  minister  to 
present  in  the  pulpit  as  that  of  prayer ;  but  no ;  —  heretofore  ho 
could  not,  without  giving  offence,  even  approach  the  subject, 
especially  if  he  spoke  of  it  as  a  duty,  and  at  the  risk  of  being 
accused  of  selfish  motives.  But  laymen  —  of  whom  we  will  men- 
tion Mason  and  Hastings,  known  through  the  country  —  could  en- 
force the  duty  and  obligation  of  all  who  had  the  talent  to  improve, 
and,  although  accused  of  selfishness,  could  recommend  proper  musio 


124  PROGRESS  OF   MUSICAL   INSTRUCTION. 

for  the  church,  and  prescribe  the  manner  of  performing  it.  Organs 
were  recommended,  as  a  substitute  for  the  multitude  of  stringed 
and  wind  instruments  which  had  found  their  way  into  the  church. 

CHILDREN    TAUGHT. 

Reason  had  lono;  tauorht  those  interested  in  sacred  music  the 
necessity  of  cultivating  the  voices  of  children,  as  a  part  of  educa- 
tion, before  nmsic  could  approach  the  position  it  deserved  in  com- 
munities and  churches.  The  work  of  persuasion  was  soon  com- 
menced—  hesitatingly  heard,  indeed,  by  parents  who  had  children 
that  could  readily  learn ;  consequently  schools  at  first  were  not 
numerously  attended.  "We  had  supposed  that  we  had  the  plciisurc 
of  teaching,  in  the  year  1824,  the  first  regular  class  ever  col- 
lected, for  that  purpose,  in  this  country ;  but  we  have  since  learned 
that  a  number  of  families  from  Germany,  who  located  in  Pennsyl- 
vania, some  fifty  years  ago,  brought  with  them  teachers  to  instruct 
their  children;  and,  as  was  customary  in  their  native  country, 
had  their  children  taught  music  systematically,  as  a  part  of  juve- 
nile education. 

OBJECTIONS   OF    PARENTS. 

It  was  with  the  greatest  difficulty  that  parents  could  be  per- 
suaded that  it  was  expedient  and  possible  for  their  children  to  learn 
to  sing.  It  was  a  new  idea,  and  no  one  wished  to  commence  the 
experiment.  The  general  impression  and  language  was,  that  for 
children  to  sing  while  young  would  injure  their  voices,  their 
health,  and  take  their  attention  from  other  studies ;  and  although 
to  learn  to  sing  was  well  enough,  still  it  was  of  secondary  conse- 
quence. It  might  be  done  if  perfectly  convenient ;  if  not,  just  as 
well  to  omit  it.  Althougli  it  could  be  made  evident  that  the 
employment  was  a  pleasant  one,  useful  through  life,  and  a  source 
of  comfort  when  many  other  branches  of  education  would  cease  to 
be  useful,  or  even  noticed ;  yet,  after  all  the  persuasion  in  our 
power,  we  could  not  succeed  in  obtaining  a  class  until  we  resorted 
to  the  expedient  of  teaching  the  art  of  writing  in  connection  with 
music;  writing  and  singing  alternately  half  an  hour,  for  two  hours. 


PROGRESS  OF   MUSICAL    IXSTRCCTIOX.  125 

FIRST  JUVENILE   SCUOOLS. 

In  this  way,  for  the  sake  of  the  writing,  we  collected  schools 
of  about  twenty-five  each,  in  Boston,  Churlestown,  and  Cam- 
bridge ;  and  our  patrons  were  so  well  satisfied  with  the  cxjxjriment, 
that  after  one  term  there  was  no  difficulty  in  collecting  scholars 
to  attend  to  singing  alone.  Of  juvenile  singing-schools  generally, 
we  shall  have  occasion  to  speak  hereafter.  It  was  a  well-known 
fact,  in  all  places,  notwithstanding  the  fears  expressed  by  parents 
that  it  would  injure  voice  and  health,  that  the  best  voices  and  the 
best  singers  were  those  who  belonged  to  musical  families,  who  were 
accustomed  to  sing  from  childhood  upward ;  and  those  who  feared 
injuring  the  lungs  did  not  or  do  not  consider  how  any  part  of  the 
system  is  strengthened  by  constant  use ;  and  we  presume  the  same 
parents  never  troubled  themselves  about  the  crying  and  screaming 
of  their  children,  through  fear  of  injury  to  their  lungs.  Much 
less  should  they  fear  the  gentle  exercise  of  the  voice  to  make  melo- 
dious sounds.  Besides,  the  child  that  loves  to  sing  will  be  singing 
something,  in  some  way,  whether  taught  or  not.  How  necessary, 
then,  that  they  learn  to  sing  understandingly !  As  to  its  diverting 
the  mind  from  other  studies,  experience  has  proved  the  contrary. 
Teachers  of  common  schools  where  singing  is  made  a  part  of  the 
exercises  have  univei-sally  acknowledged  that  the  best  singers  were 
usuidly  the  best  scholars  in  other  studies. 

SAYING    OF    HORACE    WALrOLE. 

Horace  Walpole  says,  ^'•Teach  your  children  music.  You  will 
.lure  at  a  strange  notion  of  mine;  if  it  appears  even  a  mad  one, 
do  not  wonder.  Had  I  children,  my  utmost  endeavors  would  be 
to  breed  them  musicians.  As  I  have  no  ear,  nor  ever  thought  of 
music,  the  preference  seems  odd  ;  and  yet  it  is  embraced  on  mature 
reflection.  It  is  the  most  probable  method  to  make  them  happy. 
It  is  a  resource  that  will  last  them  through  life.  It  is  capable  of 
fame,  without  the  danger  of  criticism  ;  is  susceptible  of  enthusiasm, 
without  being  priest-ridden  ;  and,  unlike  other  mortal  passions,  is 
sure  of  being  gratified  in  heaven." 
11* 


126  PROGRESS   OF  MUSICAL   INSTRUCTION. 

NEW   METHODS   OF   TEACHING,  AND   NEW  MUSIC    FOR   CHILDREN. 

Afler  the  schools  for  teaching  cliildren  had  become  numerous,  it 
was  found  absolutely  necessary  that  some  more  simple  and  inductive 
system  of  teaching  should  be  devised,  and  a  different  kind  of  music 
made  use  offer  juvenile  minds  and  voices.  In  our  first  attempt  to 
teach  juvenile  schools,  our  attention  was  directed  to  devise  some 
means  of  facilitating  and  simplifying  the  mode  of  teaching  musical 
notes  and  characters.  Our  first  experiment  was,  for  all  those  who 
could  use  a  pencil  to  have  a  slate  with  the  five  lines  drawn  upon 
it,  and  from  the  black-board  each  copied  given  lessons.  This 
method  was  found  of  great  utility,  not  only  in  teaching  the  lessons, 
but  at  the  same  time  taught  them  to  write  music.  In  a  few 
years  after,  by  the  persevering  energy  of  some  one  or  two, 
engaged  in  the  cause,  the  Pestalozzian  system  of  instruction, 
applied  to  music,  was  procured  and  introduced.  Juvenile  music 
was  obtained  from  Germany,  and  words  were  translated,  and 
taught  by  competent  teachers.  A  new  impulse  was  thus  given  to 
the  teaching  of  music  generally,  and  everything  that  pertains  to 
music  has  since  been  rapidly  advancing.  This  new  system,  not- 
withstanding its  simplicity,  needed  skill,  judgment  and  experience, 
to  administer  it.  A  teacher  of  any  art  or  science  must  be  so 
familiar  with  the  subject  as  not  to  be  confined  to  any  written 
rules ;  and  must  have  ingenuity  to  state  principles  in  a  new  form, 
when  not  clearly  understood  as  written.  This  being  introduced, 
the  black-lx)ard  became  a  necessary  appendage  to  schools.  Soon 
the  experiment  was  tried  in  the  public  schools  of  Boston,  with 
much  success,  and  has  been  continued  till  this  time.  Other  cities 
and  towns  followed  the  example.  Much  of  the  teaching  may  have 
been  superficial,  if  not  imperfect ;  for  such  was  the  anxiety  to  fol- 
low the  example  of  those  who  commenced  the  work,  that  many 
began  teaching  others  before  they  were  properly  taught  them- 
selves. Notwithstanding  this,  voices  have  been  exercised,  and 
prepared  the  more  readily  to  improve,  when  an  opportunity  pre- 
sented for  more  thorough  training. 


PROGRESS   OF    MUSICAL    INSTRUCTION.  127 


DEFECTS    IN   INSTRUCTION. 

The  universal  excitement  for  learning  to  sing,  like  all  other 
new  movements  in  this  country,  had  undoubtedly  some  evils  and 
mistakes  attending  it ;  we  conceive,  however,  that  less  evil  has 
arisen  from  superficial  instruction  in  the  rudiments  than  from 
want  of  care  in  forming  the  voice,  and  more  especially  from  the 
false  intonation  given  by  untutored  teachers  for  imitation.  As  has 
been  already  remarked,  it  is  not  every  one  that  sings  tunes  who 
sings  in  tune.  Almost  everything  we  learn  is  by  imitation  ;  and 
when  children  at  the  infant  school  are  taught  to  sing  tunes  by  one 
Avho  sings  incorrectly,  or  out  of  tune,  they  will  be  sure  to  imi- 
tate all  the  wrong,  and  it  is  with  great  difficulty  that  their  voices 
or  ears  are  corrected;  for,  as  in  everything  else,  so  it  is  em- 
phatically with  the  voice,  —  much  easier  to  learn  than  unlearn  ; 
yes,  easier  to  learn  a  whole  tune  than  to  unlearn  one  note  of  a 
tune.  And  we  cannot  see  why  it  is  not  just  as  necessary  that 
those  who  undertake  to  teach  children,  be  the  scholars  ever  so 
young,  should  not  be  examined  and  approbated  by  those  competent 
to  judge,  as  that  teachers  in  any  other  branch  of  education  should 
be  examined ;  for  those  who  have  treacherous  voices  are  never  con- 
scious of  it  themselves. 

EXHIBITIONS   OF    CHILDREN'S    SINGING. 

With  the  teaching  of  children  came  exhibitions  and  juvenile 
concerts  in  abundance.  The  effect  of  these  on  the  public  mind  was 
favorable,  satisfying  every  one  of  the  possibility  and  utility  of  chil- 
dren learaing  to  sing.  It  was  then  to  children  an  amusement ;  all 
were  interested ;  all  mixed  together,  rich  and  poor,  without  dis- 
tinction; but,  as  in  all  other  schools,  some  children  excelled,  and 
were  praised,  whose  parents  were  not, perhaps,  reckoned  among  the 
rich  in  gold;  this  was  annoying  to  some  who  stood  high  in  the 
^cale  of  society  in  their  own  opinion,  and  they  soon  became  indif- 
ferent, if  not  envious ;  and  their  indiflference  and  observations  led 
others  to  sympathize. 


128  PROGRESS   OF   MUSICAL   INSTRUCHON. 


EXCITEMENT    ABATED. 

For  this  and  other  causes,  it  is  to  be  feared  children,  as  well 
as  the  community  generally,  at  this  time,  have  far  less  inter- 
est in  the  subject  than  was  manifest  twelve  years  ago ;  and 
this  may  be  accounted  for  more  particularly  from  the  fact,  that 
young  as  well  as  old  are  so  constituted,  that  on  any  subject  or  em- 
ployment, be  it  ever  so  important,  if  a  sense  of  duty  or  interest 
does  not  govern,  tliey  soon  seek  for  change  —  grow  restless.  In  fact, 
change  is  the  order  of  the  day.  New  scenes  are  continually  pre- 
sen^ng  themselves,  and  parents,  being  willing  to  gratify  the  wishes 
(^  thildren,  have  allowed  their  attention  to  be  directed  to  other 
subjects ;  and  if  their  eyes  and  ears  are  enchanted  by  the  sound 
of  the  viol,  or  anything  of  that  character,  no  wonder  if  the  love  for 
the  simple  sounds  and  strains  made  by  the  voice  should  seeni  to 
them  insipid.  But  the  same  spirit  that  prevailed  at  the  commence- 
ment of  juvenile  schools  has  been  spreading  far  and  wide,  till  it 
has  pervaded  a  great  portion  of  the  country.  One  thing  is  certain, 
that  the  labor  of  teaching  and  learning  singing  will  not  be  lost,  for 
the  day  will  soon  come  when  all  will  realize  the  imiwrtance  of 
singing  God's  praise.  One  thing,  rather  mysterious,  and  to  be 
lamented,  is,  that,  notwithstanding  all  the  expense  and  labor  of 
teaching  in  common  schools,  the  singing  generally  in  Sabbath- 
schools  has  depreciated. 

MEANS    FOR   INSTRUCTION    STILL   LIMITED. 

After  all  the  exertions,  public  and  private,  for  the  promotion  of 
schools  and  teaching,  in  this  country,  means  for  instructing  adults 
are  very  limited.  One  quarter,  or  twenty-four  evenings,  in  a 
country  town  or  parish,  is  as  much  as  can  usually  be  maintained. 
This  short  space  must  seem  very  trifling  to  tliose  in  cities,  where 
they  meet  for  practice  once  or  twice  every  week  through  the 
year,  and  year  after  year.  But  where  families  live  separated 
in  the  country,  and  have  not  the  advantage  (if  it  can  be  so  called) 
of  hearing  others  sing,  or  learning  by  rote,  scholars,  after  their 


PROGRESS  OF    MUSICAL   INSTRUCTION.  129 

limited  instruction,  if  they  learn  to  read  music,  are  obliged  to  sit 
down  and  study  out  the  names,  and  by  experiment  learn  the  sounds 
and  distances  of  notes,  and  in  this  way  learn  to  read  music  inde- 
pendently ;  so  that  it  is  not  strange  to  find  some  of  the  best  readers 
of  music  among  those  who  arc  principally  self-taught. 

STEP    TOWARDS    CONGREGATIONAL    SINGING. 

We  are  thankful  that  we  have  lived  to  see  the  principle  of 
teaching  the  young  carried  forward  in  some  good  measure,  and  a 
conviction  of  its  importance  spreading  till  it  has  pervaded  a  great 
portion  of  our  country,  and  led  to  the  genei-al  introduction  of 
music  in  public  and  private  schools.  Indeed,  the  old  notion,  that 
children  could  not  be  taught  to  sing,  has  been  so  completely 
reversed,  that,  on  the  introduction  of  infant  schools,  singing  was 
made  the  leading  exercise. 


CHAPTER  IX. 

SCHOOLS  SINCE  1800. 

Schools.  —  A  Praying  Teacher.  —  EfiFccts  of  Revivals  of  Religion  on  Singing.  — 
Progress  of  Instruction.  —  Boston  Academy  of  Music.  —  Old  Teachers.  — 
Consequence  of  Want  of  Time  for  thorough  Teaching.  —  The  Black-board  in 
Adult  Schools.  —  Good  Results  of  the  Academy.  —  Declension,  and  Causes.  — 
Instruments  with  Singing.  —  What  was  urged  in  Lectures  on  Music.  —  Lead- 
ers preceding  Singers.  —  Schools  without  Instruments. 

SCHOOLS. 

Before  the  commencement  of  the  present  century,  and  several 
years  afterwards,  we  have  said  that  one  who  might  happen  to  wit- 
ness the  management  and  conduct  of  teachers  and  schools  would 
never  suspect  that  the  object  of  learning  to  sing  was  to  perform  a 
prominent  part  of  worship  in  the  house  of  God.  It  would  have 
been  almost  as  unexpected  to  have  heard  the  voice  of  prayer  in  a 
school  for  learning  sacred  music  as  in  the  ball-room. 

A    PRAYING   TEACHER. 

We  well  remember,  when  a  boy,  about  1795,  that  a  singing- 
school  was  talked  of,  to  be  kept  by  a  young  man,  who,  although 
belonging  in  town,  had  been  several  years  absent,  learning  a  trade, 
and,  having  become  pious,  was  now  preparing  for  the  ministry. 
A  report  ran  through  the  town  that  in  the  pious  family  where  he 
boarded  he  sometimes  prayed.  This  was  a  startling  fact,  at  that 
time,  and  rather  disrelished  by  those  who  thought  of  attending  the 
proposed  singing-school.  We  ventured,  however,  to  attend  this, 
the  first  and  last  we  ever  attended  as  a  i)upil  ;  and  to  this  day  we 


8CU0OLS   SINCK   1800.  131 

revere  the  man,=^  who  still  lives,  and  preaches  occasionally ;  and  his 
long-continued  ministry  in  one  place  is  an  evidence  of  his  worth. 
Perhaps  it  will  be  said  we  must  have  lived  in  a  dark  and  benighted 
spot.  Dark  enough,  to  be  sure,  but  among  the  most  highly  favored 
of  the  day,  in  regard  to  religious  privileges. 

EFFECTS   OF   REVIVALS   OF   RELIGION   ON   SINGING. 

Nor  can  any  close  observer  have  failed  to  notice  a  direct  rela- 
tion, both  in  the  individual  and  the  general  mind,  between  the 
standard  of  piety  and  the  interest  in  sacred  music.  The  awaken- 
ing of  the  public  mind  to  the  subject  of  music,  twenty-five  years 
ago,  was  nearly  coincident  with  extensive  revivals  of  religion. 

We  have  before  observed  that  the  language  of  the  awakened 
sinner  is.  Pray  for  us ;  and  v.hen  brought  to  rejoice  in  pardoning 
mercy,  he  six)ntaneously  sings^  and  calls  on  his  friends  to  sing 
with  him ;  and  when  there  has  been  more  than  an  usual  attention  to 
religion,  singing  has  been  observed  to  assume  a  corresponding 
import  in  the  minds  of  a  community.  It  is  also  true  that  those 
who  have  been  accustomed  to  sino;  in  the  choir,  however  thought- 
lessly  they  may  have  applied  sacred  words  to  music,  are  usually 
among  the  first  fruits  of  a  revival.  We  have  taken  much  pains 
to  ascertain  the  proportion  who  become  pious  of  those  who  have 
taken  a  part  in  the  performance  of  music  in  the  church;  and 
although  it  cannot  be  ascertained  precisely,  yet,  from  what  we  have 
learned,  we  venture  to  say,  unhesitatingly,  that  there  are  three 
of  the  singers,  to  one  of  the  rest  of  the  people  attending  public 
worship  with  them,  who  are  hopefully  converted.  Were  there  no 
other  inducement  than  this,  it  would  seem  to  be  a  sufficient  reason 
for  parents  to  spare  no  pains  to  have  their  children  learn  to  sing 
sacred  music.  We  do  not  pretend  to  say  that  there  is  any  religion 
in  singing  a  tune,  neither  is  there  in  the  words  of  a  prayer ;  but 
both  are  enjoined  duties,  and  direct  acts  of  homage  to  God,  and 
both  have  a  like  tendency  to  prepare  the  heart  for  the  reception  of 
truth. 

*  Rouben  Emerson,  of  Heading,  Mass. 


132  SCHOOLS    SINCE   1800. 

PROGRESS   OF   INSTRUCTION. PESTALOZZIAN   SYSTEM. 

We  have  spoken  of  the  black-board  as  an  indispensable  accompa- 
niment to  carry  on  the  inductive  mode  of  instruction.  This  new 
system,  with  its  attendant  benefits  to  teacher  and  scholar,  kept 
alive  the  interest  that  was  awakened.  Those  who  wished  to  qualify 
themselves  for  teaching  found  new  and  important  facilities  pre- 
sented, and  necessary  to  ]:)e  understood,  in  order  to  keep  pace  with 
the  times. 

BOSTON   ACADEMY    OF    MUSIC. 

To  give  an  opportunity  for  all  that  desired  to  prepare  them- 
selves for  the  work,  the  great  school  of  schools  was  established  in 
Boston,  called  the  "  Boston  Academy  of  Music."  Here  were  pro- 
fessors and  teachers  well  qualified  to  give  all  necessary  instruction, 
both  in  the  theory  and  practice  of  music,  on  this  new  system. 
A  good  degree  of  interest  was  manifested*  and  a  respectable  num- 
ber attended  its  first  meeting  in  1833. 

OLD   TEACHERS. 

Old  teachers,  many  of  them,  came  forward,  much  like  old  sing- 
ers into  a  new  school,  rather  doubting  whether  there  was  anything 
for  them  to  learn ;  but  they  had  a  curiosity  to  hear  this  new  doc- 
trine and  mode  of  teaching,  and  therefore  they  edged  in,  rather  in 
the  attitude  of  hearers  than  laborers  or  learners.  Every  one 
knows,  who  has  had  much  experience  as  a  teacher  in  any  branch 
of  education,  what  a  long  stride  downward  it  is  from  the  teacher 
to  the  pupil ;  and  many  have  too  much  pride  to  take  such  a  step, 
and  therefore  live  and  die  unimproved.  But,  with  a  few  excep- 
tions, after  it  was  found  that  public  opinion  was  in  favor  of  iho 
Academy,  but  more  especially  to  secure  employment  as  teachers, 
persons  attended  the  annual  meetings  year  after  year,  that  they 
might  know,  or,  at  least,  pretend  to  know,  something  of  the  system 
of  these  professors. 


SCHOOLS   SINCE   ISOO. 


133 


CONSEQUENCE   OF   WANT   OF   TIME   FOR   THOROUGH   TEACHING. 

Although  the  time  assigned  by  this  institution  for  instruction 
Wiis  of  too  short  a  duration  to  acquire  anything  like  a  thorough 
knowledge  of  the  principles  and  practice  of  music,  and  was  so 
represented  by  the  professors,  and  b#t  few  pursued  their  investi- 
gations any  further  than  while  in  a  body  or  class  together ;  and  as 
instruction,  where  there  is  such  a  multitude  together,  must  be 
general,  many,  who  came  with  bad  habits  in  regard  to  the  voice  or 
manner  of  singing,  not  only  went  away  with  those  habits  still 
clinging  to  them,  but,  what  was  worse  than  all,  they  were,  in 
their  own  opinion,  soon  out  of  the  reach  of  admonition  or  correc- 
tion, not  having  learned  enough  to  know  that  they  did  iwt  know. 
A  reference  to  the  authority  of  the  Boston  Academy,  where,  in 
their  own  opinion,  they  had  been  educated,  silenced  all  ^opposition. 
Their  practical  application  and  teaching  bore  no  resemblance  to  the 
instruction  they  had  received ;  and  every  new  idea  they  had  heard 
suggested,  when  put  in  practice  by  them,  would  either  be  tortured 
or  over-done.  For  instance,  when  the  professors  inculcated  the 
importance  of  correct  articulation,  and  would  give  exaggerated 
examples,  in  order  to  present  their  meaning  in  strong  colors,  the 
scholars  would  catch  the  idea,  as  represented,  and,  without  skill  or 
judgment  to  give  pro|>er  examples  to  others,  ran  into  still  greater 
extremes,  and  made  their  own  performance  and  that  of  their 
schools  or  ch6irs,  in  many  instances,  perfectly  ridiculous.  Their 
instruction  at  the  Academy  was  to  speak  the  words  distinctly,  by 
sounding  the  vowels,  and  closing  the  note  short  and  distinct  on  the 
consonant ;  but,  with  a  pretence  of  following  the  instructiops  of 
the  Academy,  the  result  was,  that  their  manner  of  singing  was 
Buch  that,  if  written  as  sung,  the  notes  would  have  to  be  written 
thus: 


DUKE   STREET. 


-t-J-^J 


lf=W 


i^^ 


^ord,  when  thou  didst  as  -  cend     on     high 

12 


134  SCHOOLS   SINCE   ISOO. 

TIIE   BLACK-BOARD   IN    ADULT   SCnOOLS. 

With  the  inductive  system  went  the  black-board,  as  a  necessary 
and  indispensable  appendage.  It  was  truly  a  great  acquisition 
and  convenience  in  teaching  the  rudiments  of  music ;  but,  simple 
as  its  use  might  seem  to  .be|%till,  in  the  hands  of  a  teacher  half 
taught,  and  with  little  experience,  and  less  judgment,  it  was  made 
a  time-destroyer.  The  whole  attention  was  directed  to  the  board, 
as  though  there  was  some  hidden  virtue  in  the  board  and  chalk,  to 
the  neglect  of  directing  the  eye,  at  the  same  time,  to  the  same  les- 
sons, on  a  smaller  scale,  in  the  book ;  so  that  when  the  book  was  used, 
pupils  hardly  knew  the  same  characters  there,  neither  could  they  cal- 
culate the  distances  of  notes.  However  useful  and  indispensable 
written,  or  printed,  or  painted  rules,  may  be,  no  man  can  be  called 
a  good  teacher  who  is  confined  to  them.  He  must  have  made 
himself  so  familiar  with  the  subject  that  he  can  instantly  see  and 
communicate,  so  as  to  meet  the  peculiar  difl&culties  and  inquiries 
of  every  scholar.  A  mechanical  teacher  will  be  sure  to  make  a 
lifeless  school. 

GOOD    RESULTS    OF   THE    ACADEMY. 

The  Boston  Academy  has  been  the  means  of  doing  much  good, 
not  only  as  it  regards  the  progress  of  music  generally,  but  in 
giving  character  to  schools,  church  music,  and  teachers.  Ministers 
and  people  have  been  led,  by  its  efforts,  to  turn  their  attention  to 
this  important  part  of  public  worship ;  and  the  whole  community, 
from  the  infant  school  to  the  college,  has  moved  onward  in  this 
important  work. 

DECLENSION    AND    CAUSES. 

It  is  evident,  however,  that  within  a  few  years  there  has  been  a 
reaction.  Existing  causes,  although  not  exactly  of  the  same 
nature,  have  had  the  same  effects  as  those  we  have  mentioned 
about  the  time  of  the  American  Revolution.  Nothing  is  more 
obvious  than  that  Siicred  music  cannot  prosper  in  companj^  with 
any  unusual   worldly  excitement.     The   Mexican  War,  political 


SCHOOLS   SINCE   1800.  135 

strife,  worldly  prosperity,  California  gold,  ask  for  no  sacred  music 
to  aid  them.  Tunes  to  create  political  excitement,  like  those  of 
Billings,  which  were  once  used  for  that  purpose,  would  not  now 
answer  the  wants  and  feelings  of  a  political  campaign.  In  these 
days,  music  and  words  "  light  as  air  "  can  be  used  successfully  for 
the  same  purpose. 

Singing-schools,  either  juvenile  or  adult,  it  is  true,  do  not  pre- 
vail to  that  extent  and  with  that  interest  they  have  in  former 
years.  Still  the  cause  is  generally  advancing.  Teachers  of  music 
have  made  themselves  more  thoroughly  acquainted  with  the  best 
methods  of  instructing.  The  inability  of  many  who  have  formerly 
attempted  to  instruct  has  been  discovered  and  discarded.  IMost  of 
the  modern  books,  in  addition  to  original  music,  contain  introduc- 
tory lessons,  for  exercising  the  voice,  to  supersede  the  necessity  of 
the  incessant  use  and  labor  of  the  black-board ;  and  by  that  means 
scholars  are  made  familiar  with  the  form,  size  and  place,  of  notes 
on  the  staff,  such  as  they  have  to  use  in  singing  afterwards. 

INSTRUMENTS    WITH    SINGING. 

We  are  aware  that  we  are  handling  a  delicate  subject  when  we 
speak  of  instruments,  and  we  hardly  dare  to  introduce  them  in 
connection  with  church  music,  and  should  certainly  avoid  it,  did 
not  necessity  compel  us,  by  their  coming  in  contact  with  each 
other,  to  take  a  passing  notice.  Of  instruments  and  performance 
on  tliem  jve  plead  incompetency  of  judging,  before  being  accused. 
Let  it  be  distinctly  understood,  however,  that  we  do  not  disapprove 
of  instruments  in  schools  or  elsewhere ;  —  we  speak  only  of  their 
use  when  voices  and  instruments  do  not  move  exactly  together. 

WHAT    WAS    URGED    IN    LECTURES. 

In  the  lectures  on  church  music  which  we  have  heretofore 
noticed,  it  was  urged,  very  properly,  as  was  supposed,  that  in 
schools  and  choirs  it  was  indispensable  that  voices  should  be  promi- 
nent, and  instruments  be  subservient  to  them,  —  accompanying, 
not  leading,  them.     Let  any  one,  who  has  not  l>een  initiated  })y 


136  SCHOOLS   SINCE   1800. 

degrees  to  hear  singers  with  the  piano,  organ,  and  other  instru- 
ments, following  them  with  the  voice,  listen  impartially,  and 
ascertain  whether  these  things  are  not  so.  We  speak  with  the 
more  confidence,  because  we  have  been  frequently  asked  by  stran- 
gers, of  acknowledged  musical  cultivation,  what  it  meant  when 
they  have  heard  the  words  or  voices  following  in  the  track  of  the 
instruments.  AYe  are  aware  that  the  answer  of  singers,  if  asked 
why  it  was  so,  would  be  that  the  players  on  the  instruments 
would  not  suffer  them  to  keep  with  them. 

LEADERS   PRECEDING   SINGERS. 

In  former  days,  teachers  of  schools  that  could  play  the  violin, — 
sometimes  they  used  it  to  assist  the  voice,  and  sometimes  in  the  place 
of  one.  Even  this  simple  instrument,  as  a  constant  accompaniment, 
was  objected  to  by  many,  as  detrimental  to  that  self-reliance 
necessary  to  make  a  good  singer.  Then,  again,  some,  who  used  no 
instrument,  had  the  habit,  in  school  and  church,  —  which,  we  be- 
lieve, is  not  wholly  extinct  at  the  present  day,  —  of  rushing  on 
in  advance  of  the  body  of  the  singers,  as  if  they  must  literally  pre- 
cede in  time  and  space ;  seeming  to  say,  as  they  commenced  every 
word,  and  more  emphatically  the  first  word  to  every  line,  "  Come 
on  ;  overtake  me,  if  you  can  ! " 

The  appropriate  duty  of  a  leader,  in  any  capacity,  does  not  con- 
sist in  accomplishing  more,  physically,  than  many  of  his  subordi- 
nates ;  but  he  is  to  be  leader  in  the  sense  of  deciding  how  and 
when  to  act,  on  his  own  responsibility. 

SCHOOLS   WITHOUT   INSTRUMENTS. 

From  observation,  we  are  led  to  believe  the  fact,  that  schools 
and  choirs,  who  have  usually,  from  choice  or  necessity,  practised 
singing  without  the  aid  of  any  prominent  instrument,  are  more 
prompt  and  simultaneous  in  their  performance,  and  their  accent  is 
less  mechanical,  tlian  is  found  in  those  who  have  been  constantly 
led  by  some  powerful  instrument.  "We  have  sometimes  been  led 
to  believe  that  the  doctrine  of  instruments  being  designed  to  sus- 


SCHOOLS   SINCE   1800.  137 

tain  voices  had  become  extinct.  It  is  certainly  convenient  for 
learners  of  anything  to  have  some  leading  string,  to  save  them  the 
trouble  of  exertion,  or  close  application.  It  seems,  however,  that 
some  individuals  or  associations  have  become  so  dependent  that 
they  may  be  compared  to  the  child  who  can  walk  by  touching 
another's  finger  ever  so  lightly ;  but,  take  the  finger  away,  and  it 
falls.  So  with  these  singers ;  —  tiike  away  instruments,  and  they 
fall.  We  do  not  pretend  to  say  that  what  we  have  been  describing 
is  universal,  or  even  general,  in  schools  or  associations ;  only  that 
what  we  have  said  is  even  so  in  some,  if  not  many  instances. 
12# 


CHAPTER  X. 
MUSIC  AND  TEACHING  IN  THE  WEST. 

Influence  of  Emigrants  from  New  England.  —  Pestalozzian  System  introduced 
by  T.  B.  Mason,  in  1834,  in  Cincinnati.  —  State  of  Music  in  that  city.  —  Kind 
of  Notes  used.  —  Change  of  Notes  eCfected  by  Mr.  Mason.  —  Mr.  Mason's 
Juvenile  and  Adult  Schools,  and  fust  Instruments  introduced  in  Church.  — 
Mr.  M.  Professor  of  Eclectic  Academy.  —  "William  Colburn  and  Juvenile 
Schools.  —  Mr.  Lincoln  at  Pittsburg.  —  Mr.  Bingham  at  Cleveland  and  Pitts 
burg.  —  Locke,  Nourse  and  Aikin,  at  Cincinnati.  —  Teachers  all  from  Mas- 
sachusetts or  New  Hampshire.  —  Music  in  Churches. 

From  our  silence  hitherto  of  the  "Far  West,"  as  it  is  sometimes 
called,  our  readers  may  be  led  to  suppose  that  music  had  never 
found  its  way  across  mountains  and  lakes,  to  that  region  of  our 
country.  Not  so ;  we  have  crossed  both,  and  our  eyes  and  ears 
testify  to  the  contrary. 

Cincinnati,  sometimes  called  the  Queen  City,  seems  to  stand  in 
the  same  musical  relation  to  the  western  cquntry  as  Boston  does  to 
the  eastern,  —  that  is,  the  musical  and  other  ediicational  institu- 
tions of  the  respective  regions  centre  in  those  cities. 

^INFLUENCE   OF    PEOPLE    FROM    NEW    ENGLAND. 

The  multitude  of  eastern  people,  particularly  New  Englandcrs, 
that  have  established  themselves  in  the  Western  States,  especially 
in  Cincinnati,  enables  them  to  introduce  the  customs  and  insti- 
tutions of  their  eastern  homes.  The  spirit  of  enterprise  and 
imitation  that  pervades  all  the  Western  States,  especially  the 
State  of  Ohio,  and  the  concentration  of  the  men  in  active  life 
in  the  "  Queen  City,"  give  visiters  an  opportunity  to  become 
acquainted  with  every  step  of  improvement,  and  carry  every- 
thing of  importance  to  their  homes,  to  investigate  it  and  carry 


I 


i 


MUSIC   AND   TEACHING    IN    TILE    WEST.  139 

it  into  execution  as  soon  as  may  be.  It  cannot  be  expected,  how- 
ever, in  sparse  settlements,  and  even  villages  and  cities  where,  in 
some  instances,  the  inhabitants  are  composed  of  different  nations 
and  languages,  that  accomplishments  of  any  sort  will  prevail  imme- 
diately. They  have  to  struggle  hard,  as  the  first  settlers  of  Xew 
England  did,  to  give  their  children  an  opportunity  even  to  learn 
to  read  and  write.  In  the  principal  towns  and  cities,  however,  the 
seeds  of  music  have  been  sown  by  skilful  hands,  in  a  good  soil,  — 
well  rooted  and  grounded,  —  and  have  sprung  up,  and  the  branches 
spread  far  and  wide. 

We  have  said  that  Mr.  L.  Mason  introduced  the  Pestalozzian 
System  of  teaching  music  in  Boston.  We  will  now  introduce  his 
brother,  T.  B.  Mason,  located  in  Cincinnati  in  1833  or  1834. 

STATE   OF    MUSIC    IN    THAT   CITY. 

The  reader  can  form  some  opinion  of  the  state  of  music  in  that 
city  at  that  time,  when  he  is  told  that  no  instrument,  unless  it 
were  the  "  tuning-fork,"  had  been  suffered  to  sound  within  a 
church,  and  that  had  to  be  used  slyly^  as  Billings  said  concerning 
giving  the  pitch  at  his  concerts.  Imagine,  then,  what  must  have 
been  the  feelings  of  the  elder  Dr.  Bcecher,  who  had  recently  been 
transferred  to  the  seconcj  Presbyterian  church  in  that  city,  from 
Bowdoin-street  church  in  Boston,  where  L.  Mason  presided  at  one 
of  the  best  organs  in  the  country,  assisted  by  the  best-trained,  and, 
perhaps,  the  most  effective  choir  in  America  at  that  time.  In 
afldition  to  this,  the  doctor  was  a  great  lover  of  music,  besides 
considering  it  an  essential  aid  in  the  promotion  of  religion. 

CnV    OF    DR.    BEECHER. 

He  could  not  endure  that  this  part  of  worship  should  be  thus  neg- 
lected and  marred.  He  soon  sent  to  his  friends  in  Boston,  saying, 
"Come  over  the  mountains  and  help  us ;"  or  (to  use  the  language 
of  Billings)  our  "  nerves  will  be  rent  asunder  "  with  discordant, 
unmeaning  singing  in  church. 

The  voice  was  heard  and  heeded  ;  and  Mr.  T.  B.  Mason,  brother 


140  MUSIC   AND   TEACHING    IN    THE    WEST. 

of  the  professor,  was  selected  as  the  man  to  supply  the  place.  He 
was  received  with  joy  by  those  who  knew  how  to  appreciate  good 
music  ;  and  he  soon  commenced  his  labors,  assisted  by  the  influence 
and  action  of  many  of  the  principal  characters  of  the  cit3\ 

KIND    OF    NOTES    USED. 

There  were  no  books  in  common  use  in  the  city,  and  probably 
nowhere  west  of  the  mountains,  but  those  printed  with  buckwheat 
notes.  A  collection  of  church  music  had  been  prepared  for  publi- 
cation by  the  Messrs.  Mason.  But  what  was  to  be  done  ?  To 
force  the  whole  community  at  once  to  adopt  new  notes,  was  injudi- 
cious, if  not  impracticable.  The  publisher  refused  to  use  the  round 
notes,  knowing  the  sale  would  then  be  limited.  Therefore,  for  the 
time  being,  the  editors  had  to  submit  to  the  mortification  of  having 
their  music  published  in  a  style  to  accommodate  the  mass,  with  the 
expectation  and  determination  of  soon  convincing  the  singing  com- 
munity of  their  error,  by  showing  them  a  better  way.  The  book 
was  called  the  "  Sacred  Harp."  JMr.  Mason  had  other  books 
enough  to  commence  teaching,  and  his  introductory  lessons  soon 
convinced  every  one  who  attempted  to  learn  of  the  impropriety 
of  using  such  characters. 

CHANGE   OF   NOTES   EFFECTED    BY    MR.    MASON. 

The  book  of  diamond  notes  was  published ;  and  sudi  was  the  in- 
terest excited  by  Mr.  Mason's  introductory  lessons  and  lectures  oi? 
the  subject  of  music,  in  the  city  and  the  country  around,  that 
seventy-five  thousand  copies  were  sold  the  first  year.  But,  to 
show  the  change  effected  in  public  opinion,  we  will  state  that  the 
cornered  notes  were  soon  rounded,  and  within  two  years  eighty- 
five  thousand  copies  were  sold  in  that  type,  and  the  former  edition, 
or  manner  of  printing  it,  abandoned.  Still,  however,  we  have 
reason  to  believe  that  buckwheat  notes  are  not  all  eaten  up,  but 
are  to  this  time  preserved  and  used  in  many  places  in  the  great 
west. 


MUSIC    AND   TEACinNQ    IN   THE    WEST.  141 

ins    JUVENILE    AND   ADULT    SCHOOLS.    ♦ 

Mr.  Mason  continued  his  lalx)rs  for  many  years,  having  as  many 
schools,  juvenile  and  adult,  as  he  could  attend  to.  Having  the 
charge  of  the  singing  at  the  second  Presbyterian  church,  he  soon 
introduced,  by  degrees,  instruments  of  variojis  kinds ;  but,  as  it 
used  to  be  in  New  England,  some  of  the  good  people  pretended  to 
be  grieved  ;  the  sounds  were  new,  and  disturbed  their  devotion,  as 
they  thought ;  and  when  |;he  double  bass  made  its  majestic  appear- 
ance, and  some  of  the  strings  happened  to  sound  out,  while  snap- 
ping to  tune  them,  it  was  too  nmch.  Some  of  the  good  old  wor- 
sliippers  turned  their  backs  on  the  preacher,  and  left  for  home  ; 
but,  being  sensible  men,  they  were  soon  convinced,  by  reasoning, 
that  the  instrument  was  not  to  blame  for  the  noise,  and  that  there 
was  not,  in  reality,  anything  wicked  in  it. 

MR.    MASON    PROFESSOR    OF    ECLECTIC    ACADEM^. 

A  musical  association,  somewhat  similar  to  the  Boston  Academy,^ 
called  the  "  Eclectic  Academy,"  was  cstfblished  in  Cincinnati,  by 
the  most  influential  men  in  the  city,  with  Judge  Burnett  for  pres- 
ident. I\Ir.  T.  B.  Mason  was  chosen  professor.  Many,  both  old 
and  young,  were  taught  under  the  patronage  of  this  society ;  and 
its  influence  has  been  spreading  like  leaven  through  the  western 
country,  and  many  teachers  and  choristers  received  their  instruc- 
tion at  this  institution. 

WILLIAM    COLBURN. 

After  Mr.  Mason  had  retired,  in  a  great  measure,  from  the 
labors  of  teaching,  William  Colburn,  one  of  the  earliest  juvenile 
singers  in  Boston,  who  had  previously  })een  teaching  in  Louisville, 
Kentucky,  estal)lishcd  himself  as  a  teacher  of  music  in  Cincinnati. 
INIr.  Colburn  soon  suggested  to  the  school  committee  the  propriety 
of  singing  being  tauglit  in  the  public  schools  ;  but  none  could  bo 
found  to  favor  his  plan,  especially  if  it  was  to  be  attended  with 
any  expense  to  the  public.  He  tfiicn,  for  the  purpose  of  testing 
the  fact  of  the  proficiency  that  might  be  made  by  children,  oifered 


142  MUSIC   AND   TEACHING   IN   THE   WEST. 

to  teach  the  scholars  in  two  schools,  gratis,  for  one  year.  Hig 
services  were  gladly  accepted,  and  two  more  were  urged  upon  him 
at  the  same  time,  all  of  which  he  attended  ;  and  in  the  course  of 
the  year,  and  more  especially  at  the  close,  he  had  public  exhibi- 
tions of  his  pupils ;  and  their  performance  was  such  as  to  astonish 
and  delight  all  who  heard.  The  evidence  was  so  strong  in  favor 
of  the  utility  and  practicability  of  juvenile  instruction,  that  he  was 
employed  the  next  year  to  teach  many  of  the  schools,  and  a  salary 
paid  him.  He  also  taught  in  the  principal  seminaries  in  the  city. 
In  a  few  years  he  engaged  in  other  business,  and  others  were 
employed  in  his  stead. 

LOCKE,    NOURSE   AND   AIKIN,    AT    CINCINNATI. 

Mr.  Locke  and  Mr.  Nourse  were  first  engaged,  and  soon  after 
Mr.  Aikin,  so  that  every  public  school  in  the  city  was  supplied 
with  a  teacher  of  music  twice  a  week,  and  has  so  continued  to 
^the  present  time.  Perhaps  some  one  will  ask,  —  and  with  what 
success  ?  "We  can  answer,  or  rather  give  an  opinion,  from  per- 
sonal hearing,  —  for  their  schools  there,  and  comparatively  with 
schools  in  other  cities,  —  having  been  familiar  with  the  singing  in 
the  schools  of  Boston  and  Providence.  Wc  have  never  anywhere 
heard  scholars  sing  in  schools,  where  there  was  greater  evidence 
of  thorough  training  in  the  first  principles  of  music,  of  attention, 
and  ambition  on  the  part  of  the  scholars,  than  in  Cincinnati,  having 
visited  the  schools  several  winters,  and  taken  them  unawares, 
when  there  was  no  chance  for  display.  Put  their  greatest  excel 
lence  consisted"  in  their  exactness  and  promptness  in  the  tini 
There  were  no  instruments  for  them  to  catch  the  sound  from, 
to  lean  upon ;  but  tlic  moment  the  pitch  and  time  of  a  tune  were 
given,  it  was  carried  through  by  the  scholars,  without  the  aid  of 
even  the  voice  of  the  teacher. 

Mr.  Lincoln,  a])out  1840,  commenced  teaching  children  in  the 
city  of  Pittsburg.  He  found  music  in  a  low  state,  and  prejudice, 
indifference  and  ignwance,  in' regard  to  the  subject  of  music,  hard 
to  contend  with  at  first;  but  the  people,  being  active  and  ambitious, 


}S, 

ro^M 


MUSIC    AND   TEACUING    IN    THE    WEST.  143 

soon  came  forward  and  patronized  the  teaching  o^schools,  and 
juvenile  schools  were  introduced  among  them,  that  will  be  favorably 
remembered  by  all  concerned,  and  good  and  great  results  to  the 
cause  will  be  known  and  felt  hereafter. 

Mu.  BixGiiAM  has  now  taken  the  place  of  Mr.  Lincoln,  a  gentle- 
man who  had  been  teaching  for  several  years  with  good  success  in 
Cleveland,  Ohio. 

TE.VCUERS    ALL    FROM   MASS.    AND    N.    HAMPSHIRE. 

The  foregoing  teachers,  mentioned  as  having  introduced  and  car- 
ried on  the  work  of  reformation  in  the  West,  were  all  natives  either 
of  Massachusetts  or  New  Hampshire. 

MUSIC    IN    THE   CHURCHES. 

As  to  the  music  .in  the  churches,  we  cannot  say  so  much.  In 
some  we  may  hear  and  see  a  man  under  the  pulpit  who  "  strikes 
up  the  tune,"  generally  with  a  noble  voice,  and  all  f<(||ow  on,  the 
best  way  they  can  ;  not  every  voice  would  be  considered  quite  in 
tunc  or  in  time  to  a  critical  ear.  Some  use  the  real  Scotch  ver- 
sions of  psalms,  as  they  were  printed  and  sanctioned  centuries  ago. 
In  others,  a  man  rises  in  his  pew  and  sings  on,  and  all  join  him ; 
and,  in  some  instances,  it  was  really  devotional.  Some  churches 
have  very  good  choire ;  others  have  merely  quartet  choirs,  and 
seem  to  consider  four  individuals  amply  sufficient  to  sing  for  the 
whole  congregation.  In  some  instances,  a  great  proportion  of  the 
mgregation  seem  to  join  their  voices  in  some  familiar  tune.     But 

any  one  visits  Cincinnati,  and  wishes  to  hear  heart  and  soul 
;:rring  singing,  let  him  go  to  some  German  Lutheran  church, 
Avhere,  after  the  tune  and  some  introductory  words  and  exer- 
cises are  performed  by  the  organ  and  choir,  the  wliole  congregation 
joins  and  sings  heartily,  and  understandingly,  all  on  one  part ;  if 
it  does  not  rouse  the  hearer  from  his  seat,  it  will  be  because  he  can 
withstand  more  than  the  writer. 

In  regard  to  instruments,  we  have  mentioned  their  introduction 
into  Mr.  Mason's  choir.     lint,  as  is  always  the  case,  different  kinds 


144  MUSIC   AND   TEACniNO   IN    THE   WEST. 

of  instruments  brought  together,  with  the  breaking  of  strings  and 
squeaking  of  reeds,  soon  become  tiresome.  Organ  is  the  word, 
and  the  instrument,  which  alone  can  satisfy  in  the  church.  The 
first  organ  that  sounded  west  of  the  Alleghany  IMountains  was 
placed  in  the  second  Presbyterian  church  in  Cincinnati,  in  1837. 
This  instrument  was  procured  principally  by  the  influence  and 
labor  of  Dr.  Beecher  and  Professor  Mason.  There  is  now  an 
organ,  or  some  similar  instrument  of  inferior  construction,  in 
alniast  every  church ;   and  other  instruments  driven  out. 


CHAPTER   XI. 
IMPROPRIETIES  IN  EXECUTION. 

Singing  of  Solos  and  Duets.  —  Inattention  to  Accent,  "\\'ord!!,  &c.  —  Unsuit- 
able Words,  —  Irregular  Poetry.  —  AVords  with  Improper  Accent.  —  False 
Accent  from  Location  of  Notes, —  Repeated  Accent  in  Singing.  —  Force 
of  Accent.  —  Inappropriate  Graces  in  Singing.  —  Enunciation.  —  Taking 
Breath  improperly.  — Careless  Manner  of  Finishing  Words.  —  Leading  Notes. 
—  Habits  and  Customs  of  Singers.  —  Application  of  Slurs.  —  Repeated  Accent 
in  Singing.  —  Abuse  of  the  Letter  R. —  Gesticulation.  —  Bad  Habits  not  per- 
ceived by  Ourselves.  —  Saying  of  Tosi,  —  Battishill  and  a  German  Violoncello- 
player. 

SINGING   OF   SOLOS   AND   DUETS. 

In  former  times,  all  the  voices  attached  to  each  part  kept  on, 
wherever  they  found  notes.  If  there  was  a  tenor  or  bass  solo  or 
duo,  all  the  tenor  or  bass  voices  sung,  while  those  on  the  other 
parts  kept  silence ;  and  such  passages  were  marked  pia,  or  soft. 
Each  part  was  expected  to  execute  what  was  written  for  it,  asking 
no  questions.  The  words,  characters  or  letters,  for  indicating 
soft  or  loud,  or  other  modes  of  expression,  were  considered  part 
and  parcel  of  the  tune ;  and,  no  matter  what  might  be  the  words 
to  be  sung,  the  tune  must  be  sung  as  directed.  In  anthems  and 
•select  pieces  of  music,  passages  were  found,  in  different  parts,  evi- 
dently intended  to  1k3  sung  by  single  voices ;  but  to  accomplish  it 
was  the  question.  In  many  choirs,  however,  it  was  accomplished ; 
and  when  the  Ilandcl  and  Ilaydn  Society  was  instituted,  conform- 
ity to  the  directions  of  European  authors  was  attempted,  and  suc- 
cessfully achieved.  This  was  an  example  for  imitation  to  choirs 
nnd  other  minor  societies.  Before  this  time,  and  in  mast  of  the 
hoirs  in  the  country  for  a  long  time  afterward,  a  male  or  female 
13 


146  IMPROPEIETIES   IN    EXECUTION. 

singer  could  scarcely  be  found  to  make  the  attempt ;  or,  if  they  did, 
their  voices  were  suppressed  to  an  inefficient,  unmeaning  tone,  so 
that,  however  correct  and  melodious  the  performance  might  be, 
much  of  the  effect  was  lost.  If  some,  however,  had  ability  and 
courage  to  display  the  voice,  they  were  sneered  at,  as  being 
immodest,  bold  and  brazen-faced.  In  cases  where  no  one  could 
be  found  to  make  the  attempt  to  sing  alone,  then  two  or  three  or 
more  united,  who,  together,  would  not  produce  so  much  volume 
of  voice  as  an  individual  at  the  present  day.  As  soon  as  they 
heard  their  own  voices,  they  were  frightened,  as  though  it  was 
something  they  never  heard  before ;  so  that  help  had  to  be  near,  to 
assist  when  they  began  to  falter. 

And  here  we  may  adopt  the  language  of  a  good  old  divine,  who 
said  Christians  were  seldom  in  the  path  to  heaven,  except  when 
crossing  it ;  so,  when  singers  of  later  years  are  taught  to  develop 
their  voices,  they  are  apt  to  step  to  the  other  side,  and  sing  as 
much  too  boisterous  as  formerly  too  tame. 

Moreover,  it  has  since  been  the  case,  that,  instead  of  importunity 
being  required,  many  are  ready,  willing  and  waiting,  for  an  invita- 
tion to  sing  alone;  and  unkind  feelings  are  often  manifested 
towards  a  leader  or  chorister,  because  he  does  not  give  individuals 
an  opportunity  to  exhibit  their  voice  and  skill. 

INATTENTION    TO    ACCENT,    WORDS,    ETC. 

In  the  days  of  our  forefathers,  as  we  have  said,  very  little  atten- 
tion was  paid  to  time,  tone,  accent,  emphasis,  style,  or  even  words, 
each  one  making  use  of  the  words  on  his  own  account,  and  pro- 
nouncing them  in  his  own  way.  Of  course,  the  same  word  would 
be  treated  very  differently  by  different  singers.  In  singing  poe- 
try, the  accent  in  music  would  naturally  follow  the  rhythm  of  the 
verse.  But  poetry  is  very  irregular  as  regards  rhythm,  and  poets 
seem  to  deem  it  a  mark  of  their  skill  to  vary  as  far  as  possible 
from  regular  rhythm,  without  actually  doing  gross  violence.  If 
the  measure  of  verse  were  strictly  observed,  the  subject  of  adapta- 
tion of  words  to  music  would  be  more  easily  disposed  of.     ]3ut 


IMrROPRlETIES    IN    EXECUTION.  147 

this  not  being  the  case,  while  the  accent  of  tunes  is  stationary,  it 
must  be  obvious  that  care  and  skill  are  necessary,  to  give  sense 
and  expression  to  sentiment,  where  rhythm  is  irregular. 

UNSUITABLE   WORDS. 

The  Italian  says,  "  Read  well,  sing  well ;  "  but  the  saying  will 
not  always  apply  to  the  English  language.  Although  it  is  not 
true  that  all  who  read  well  sing  well,  —  for  we  have  heard  many 
good  readers  whose  enunciation,  when  they  applied  words  to  music, 
was  lost  in  sound,  —  still  it  is  obvious  that  one  who  cannot  read 
well  cannot  be  expected  to  give  the  best  effect  to  words  in  singing. 
When  our  poets  weave  into  their  measure  such  words  as  pleasura- 
bhy  perpetuity,  incomprehensible,  and  the  like,  the  idea  of  ex- 
pression is  out  of  the  question ;  and  when  we  consider  the  limited 
practice  of  singers  generally,  the  imperfect  education  of  many, 
and  the  irregular  construction  of  poetry,  it  is  not  strange  that 
many  practices  and  performances  should  not  bear  scrutiny. 

IRREGULAR    POETRY. 

Lines  of  poetry  with  an  even  number  of  feet  have,  or  ought  to 
have,  an  unaccented  word  or  syllable  at  the  commencement  of  the 
line.  Tunes  are  generally  so  constructed  as  to  meet  this  rule ;  but 
poets  are  lawless,  and  often  vary  from  the  rule,  and  you  find  a 
line  read  thus : 

"  Nature  with  all  her  powers  shall  sing 
God  the  Creator  and  the  King." 

Here  the  accent  of  the  tune  will  occur  on  the  unaccented  syllable 
of  nature  in  the  first  line,  and  on  the  word  the  in  the  second. 

To  apply  such  lines  to  music  written  for  regular  verse  requires 
care  and  judgment ;  and  it  has  not  been  uncommon  to  hear  choirs 
sing  them  regardless  of  the  change  of  agccnt,  thereby  making 
nonsense.  To  remedy  this  evil,  some  authors  introduced  small 
choice  notes  at  the  commencement  of  particular  lines ;  but  this 
experiment  did  not  have  its  desired  effect,  otherwise  than  to  direct 


148 


IMPROPRIETIES   IN   EXECUTION. 


attention  to  the  subject ;  for  it  was  found  that  if  singers  did  not 
know  enough  to  vary  the  accent  so  as  to  accommodate  the  words, 
these  additional  notes  tended  only  to  create  embarrassment. 

WORDS    WITH    IMPROPER   ACCENT.       > 

We  often  find  words  of  three  syllables  with  a  full  accent  on 
the  first  syllable  only,  the  third  syllable,  of  course,  falling  on  the 
accented  part  of  a  measure ;  and  when  the  accent  is  mechanically 
applied,  it  makes  amusing  language.  Take  the  words  Majesty, 
Prodigal,  Paradise,  &c.,  which,  when  applied  to  music,  and  sung 
on  carelessly,  will  meet  the  ear  as  follows : 


A    - 

domed 

with 

ma  - 

'      1 
-    jes 

-  te  -  e  -  e 

and 

grace 

To 

see 

a 

pro    - 

-   di 

-    gal 

re  - 

turn 

The  unavoidable  result  is  to  make  an  apparently  distinct  word 
of  the  last  syllable,  as  the  example  will  sliow ;  while  in  words  of 
three  syllables,  accented  on  the  second,  as  Ilosiinna,  Salvation,  Re- 
deemer, &c.,  all  is  right.  The  line  of  poetry  in  the  hymn  "  Kise, 
my  soul,  and  stretch  thy  wings,"  familiar  to  all,  "  Rise  from  transi- 
tory things,"  in  the  days  of  the  American  Revolution,  might  have 
had  some  meaning,  sung,  as  we  have  frequently  heard  it,  "  Rise 
from  transi-tory  things;"  but  when  sung  in  these  days,  and 
applied  strictly  to  the  accent  of  the  tune,  it  is  less  significant. 

Slurred  notes  very  greatly  interfere  with  distinct  articulation. 

FALSE  ACCENT  FROM  LOCATION  OF  NOTES. 

In  cases  where  the  note  that  follows  an  accented  one  stands 
many  degrees  higher  on  the  staff,  singers  are  driven  to  make  a 
false  accent,  unless  particular  care  is  taken.  The  following  is  an 
example,  where  the  intervals  are  not  great :  — 


Shout  for    joy  with  songs  of     prais-es 


IMPROPRIETIES  IN  EXECUTION.  149 

FORCE  OP  ACCENT. 

The  rudiments  of  music  indicate  the  particular  parts  of  a  meas- 
ure to  be  accented ;  but  the  degree  of  accent  is  left  undefined,  of 
necessity.  Some  individuals  and  choirs  sing  smoothly  on,  with  a 
full,  natural  tone,  on  the  accented  note,  giving  the  unaccented  ones 
with  less  strength  of  voice,  as  they  properly  should  do.  But 
when  we  have  heard  the  unaccented  note  sung  with  the  full 
strength  of  voice,  and  a  painful  effort  made  to  sing  the  accented 
part  of  the  measure  still  louder  and  stronger,  we  have  been  con- 
strained to  pronounce  it  labor  without  eifcct,  or  noise  without 
music. 

%  GOVERNED    BY    WORDS. 

We  have  often  listened  to  choirs  in  church,  where  they  seemed 
to  be  governed  by  individual  words,  rather  than  by  the  sense  of  a 
whole  phrase ;  for  instance,  where  the  line  of  the  poetry  read  thus, 

"  No  peace  I  find,  no  joy  I  see," 

the  four  first  words  would  be  sung  very  soft,  then  the  sight  of  the 
word  joy  seemed  to  animate  them  to  pour  out  a  volume  of  sound 
on  the  last  four. 

ENUNCIATION. 

We  suppose  every  singer  imagines  that,  as  for  himself,  he 
articulates  every  word  distinctly.  He  sees  the  word,  and,  with 
the  sound  of  the  note,  begins  to  speak  it ;  but,  his  attention  being 
directed  onward  to  the  next  note,  he  perhaps  neglects  to  notice 
liow  he  finishes  it,  or  whether  at  all;  but,  should  he  listen  to  the 
conclusion,  himself  being  judge,  he  would  often  find  it  to  be  unin- 
telligible even  to  his  own  car,  and  still  more  so  to  that  of  the 
hearer. 

.  To  murder  such  a  word  as  Incomprehensible,  which,  in  com- 
mon or  short  metre,  sup[)lies  a  whole  line,  and  where,  in  a  slow 
tune,  the  beginning  of  the  word  is  forgotten  before  the  end  is 
reached,  is  quite  excusable.  But  we  have  heard  choirs  sing  lines 
of  well-written  poetry  in  such  a  drawling,  inarticulate  manner, 
13^ 


150 


IMPROPRIETIES   IN   EXECUTION. 


that,  if  written  as  heard,  would  strike  the  ear  like  some  long, 
unmeaning  word. 

TAKING  BREATH  IMPROPERLY. 

It  is  not  uncommon  for  individual  singers,  and  sometimes  for 
whole  choirs,  to  take  breath,  when  singing,  at  measured  intervals 
through  the  tune,  regardless  of  the  necessity  of  keeping  the  sylla- 
bles of  each  word  properly  connected. 


joy 
i-y    joy, 


re  -   main 
remain    ^ 


CARELESS    MANNER   OF    FINISHING    WORDS. 

The  great  secret  of  distinct  enunciation  is,  to  sing  the  vowels 
and  speak  the  consonants.  If  the  latter,  after  sounding  the 
principal  length  of  the  note  on  the  vowel,  are  not  articulated  care- 
fully, distinctly,  and  finished  almost  instantly,  the  word  is  lost. 
It  is  not  uncommon  to  hear  the  consonants,  such  as  m,  n,  d,  st,  t, 
&c.,  at  the  close  of  a  word,  reserved,  and  applied  to  the  word  that 
follows,  which  perverts  or  destroys  the  sense ;  and  even  lines  are 
sometimes  connected  in  the  same  way,  thus : 


Bu  -  ried   in      shadows      of   the    night,     We      lie  and 
A«iiing,    Bur  -  ie    din  -  shadow — sof  the    nigh- — Twe — lie 

LEADING   NOTES. 

We  can  present  a  very  common  habit  to  the  eye,  of  which 
many  singers  in  former  days  were  guilty.  For  instance,  in 
performing  Old  Hundred,  if  the  notes  were  written  as  sung, 
they  would  read  thus  (we  hope  to  be  pardoned  for  making  use  of 
a  few  notes  of  so  venerable  a  tune  as  an  example) : 


Bo       thou.      0 


God,    ex    -    -    alt    -    ed       high 


IMPROPRIETIES    IN    EXECUTION. 


151 


Hero  wc  find  an  unauthorized  or  unwritten  note,  that  seems  to  be 
made  a  stopping-stone  from  which  to  leap  to  the  following  or 
written  one ;  and  perhaps  many  at  the  present  day,  if  they  should 
watch  themselves  critically,  as  they  do  their  neighbors,  would  find 
that  the  habit  was  not  yet  extinct. 

EMDELLISIIMENTS. 

The  next  practice  we  notice  is  that  of  retaining  the  melody  in 
substance,  but  with  variations  at  the  will  of  the  performer,  thus  : 


\Vc  have  heard  a  different  method  of  ornamenting  tunes,  rather 
more  regular  in  its  movement,  but  no  more  nearly  confined  to  the 
original,  —  done  by  regular  slides  or  triplets,  so  that  a  stranger 
would  suppose  the  tune  written  in  compound  time,  thus  : 


Sung  in  this  manner,  or,  more  especially,  when  played  on  an 
organ,  it  would  sound,  to  use  the  language  of  martial  music,  liko 
"  a  double  drag ; "  and,  at  other  times,  when  played  as  we  havo 
heard  it,  this  time-honored  tune  might  be  taken  for  a  "  hornpipe." 


APPLICATION    OF    SLURS. 

There  were  certain  peculiarities  in  the  style  of  enunciating 
music,«within  our  recollection,  which  we  would  place  on  record, — 
so  far  as  language  can  do  it,  —  as  a  part  of  the  history  of  music. 
Among  the  most  notable,  as  well  as  the  most  ludicrom^,  wa.s  the 
mode  of  singing  slurred  notes.  For  example  :  in  the  tune  of  34th 
Psalm,  which  we  have  mentioned  as  one  of  the  first  fugueing 


152 


IMPROPRIETIES   IN    EXECUTION. 


tunes  imported  into  this  country,  the  following  slur  occurred,  which 
wc  have  frequently  heard  sung,  when  young,  as  here  represented ; 
but,  to  give  it  a  more  jxirfect  representation,  we  must  imagine  a 
powerful  twang  or  nasal  sound  accomijanying  the  performance. 


^=£^i± 


^ 


ia 


11^=^ 


Mv 
My 


hea rt  and  tongue  employ 

ha-wa-wa-wa-wa-wa-wart  and  tongue  employ 


REPEATED    ACCENT   IN    SINGING. 

We  well  remember,  in  after  days,  a  practice  of  jerking  and 
dividing  the  notes  and  words,  to  correspond  with  the  measure  of 
time.  This  habit  seemed  to  be  acquired  by  the  energetic  manner 
with  which  time  was  l:)eaten  with  the  hand,  which,  if  done  with  a 
violent  motion,  is  almost  sure  to  affect  the  voice  more  or  less.  "Wo 
will  try  to  illustrate  what  we  wish  to  communicate,  in  the  first 
line  of  the  tune  of  Luton,  which,  by  the  manner  of  singing  and 
accent,  would  read  thus : 


Wocdg  sung  thus. 


With    all       my   pow'rs    of 
With  au-awl  my  pow-onrs  of 


heart  and  tongue 
ha-art  and  tou-unge 


making  the  voice  and  words  subject  to  the  jerk  of  the  hand  at  the 
second  beat,  to  a  note  of  two  beats,  and  made  more  emphatical  than 
the  first.  This  habit  was  handed  down  through  many  generations 
of  singers ;  and  w'C  ai*e  mistaken  if  the  same  practice,  though  less 
prominent,  may  not  be  heard  at  the  present  time  in  some  churches. 
Perhaps  an  example  where  dotted  or  pointed  notes  occur  will 
sound  more  natural,  and  be  more  easily  understood. 


BRATTLE     STREET. 


P^ 


£ 


^ 


VV^hile  thee 


».  luiuiiiuu       i      seeli,    pro-tect-ing  power 
Bung  thuf ,    While  the-ee    I  see-ek,  pro  -  tect  -  ing  pow-our 


IMPROPRIETIES    IN    EXECUTION.  153 

INAPPROPRIATE    GRACES    IN    SINGING. 

Should  we  stop  here,  the  impression  would  naturally  be  that  all 
has  been  perfection  for  many  years  past ;  but  we  are  not  prepared 
to  sanction  such  a  conclusion,  for  there  seem  to  be  some  practices 
of  later  date  equally  worthy  of  rebuke. 

We  have  told  how  our  forefathers  used  to  shake,  torture  and 
mutilate  the  notes  of  a  tune.  They,  to  gratify  their  fancy,  igno- 
rantly  misrepresented  the  composer ;  but  in  after  days,  others 
politely,  knowingly  and  exultingly,  embellish  and  adorn  the 
original  notes  of  a  tune  with  flowers  that  "  in  blooming  die." 
Some  practices  may  be  admissible,  and  even  proper,  in  one  connec- 
tion, but  not  in  another.  For  instance,  the  step  of  a  soldier 
under  arms,  although  ever  so  graceful  and  noble  in  its  place,  is  not 
such  as  would  be  imitated  by  a  lady  in  going  to  church,  or  even  in 
a  ball-room.  So  the  writhing  of  the  body,  tossing  the  head,  and 
the  intricate  and  rapid  ad  libitums  of  the  voice,  of  splendid  singers, 
which  might  please  and  amuse  in  a  theatre,  would  be  very  inappro- 
priate when  exhibited  in  the  performance  of  sacred  words  in  the 
church.  But  when  the  same  individuals  are  employed  in  both 
places,  as  is  often  the  case,  it  is  not  strange  that  the  same  habits 
should  be  retained  and  exhibited,  more  or  less,  in  both  places.  But, 
as  it  is  said  there  is  "  no  accounting  for  taste,"  perhaps  what  seems . 
offensive  to  us  may  be  the  essence  of  beauty  to  others. 

ABUSE    OF    THE    LETTER   R. 

Another  practice,  which  was  in  vogue  but  a  few  years  since, 
was  that  of  twir-r-r-ling,  or  whirling,  one  of  the  letters  of  the 
alphabet.  This,  of  itself,  to  a  certain  extent,  is  rather  pleasing ; 
but,  as  we  said  before,  when  we  begin  to  imitate,  we  pass  the 
bounds  of  propriety,  imperceptibly.  In  this  habit  the  tongues  of 
gentlemen  could  succeed  but  partially,  therefore  the  ladies  were 
the  victors ;  and  such  was  the  struggle  for  mastery,  that  those  who 
excelled  could  put  to  blush  the  sons  and  daughters  of  the  Emerald 
Lsle.  The  notes  attached  to  this  favored  letter  J?,  like  the  shaking 
of  the  notes  by  our  forefathers,  are  indescribable  on  paper. 


154  IMPROPRIETIES    IN    EXECUTION. 

To  describe  the  many  freaks  of  the  voice,  in  forming  notes, 
articulating  ^Yords,  and  adding  unauthorized  notes,  while  under  the 
guidance  of  an  untutored  taste  and  tongue,  would  be  as  difficult  a 
task  as  to  describe  the  different  emphases  and  cadences  of  public 
speakers. 

GESTICULATION. 

In  addition  to  the  habits  contracted  more  or  loss  by  imitation, 
in  the  singing  of  tunes,  and  in  the  different  me^ods  of  beating 
time  with  the  hand,  we  have  witnessed  other  imitated  habits  that 
affected  the  whole  system. 

We  were  knowing  to  the  facts  in  the  following  account  of 
extraordinary  imitation  in  action  while  singing.  A  teacher  of 
rather  remarkable  talents,  some  fifty  years  ago,  tiiught  much, 
had  a  remarkably  fine  voice,  and  taste  which  enabled  him  to  give 
effect  to  words;  and  in  school  and  individual  performance  his 
whole  soul  seemed  to  be  wrapt  up  in  his  singing.  He  was  viewcxl 
with  wonder,  all  admiring-  his  energy  and  inspiring  manner 
before  his  scholars.  In  him  all  this  appeared  well,  for  he  felt  and 
acted  it  all  naturally.  His  scholars,  of  course,  particularly  some 
that  were  preparing  to  teach  others,  imitated  his  motions,  in 
some  degree ;  for,  to  be  considered  popular  teachers ,  they  must, 
as  much  as  possible,  follow  the  example  of  their  leader.  We  only 
know  the  result  of  the  labors  of  one  of  them.  He  commenced 
teaching,  with  good  success,  and  sustained  a  character  worthy  of 
the  employment.  He,  of  course,  as  I  observed,  must  appear  ani- 
mated, excited,  active,  full  of  motions  or  gestures.  Coming  from 
the  fountain-head,  he  must  be  imitated  by  his  pupils.  One  of 
his  pupils,  a  leader  and  chorister  in  church,  who  was  of  a  tall, 
slender  form,  could  act  his  part  to  perfection.  He  connnenccd 
teaching  a  school  himself,  and,  after  he  had  taught  the  rudiments 
and  singing  of  some  tunes,  we  were  to  finish  the  school.  On  enter- 
ing the  hall,  we  were  soon  handed  a  book,  and  the  list  of  tunes 
that  had  been  practised.  The  scholars  were  rc(piestcd  to  turn 
to  a  particular   tune,  and    the  singing   commenced.      ]3ut,  0 ! 


IMPROPEIETIES   IN    EXECUTION.  155 

the  sight !  "Well  might  it  have  been  supposed  that  all  were  taken 
suddenly  with  the  St.  Vitus'  dance.  All  were  in  motion,  turning 
and  twisting  in  every  direction.  This  was  in  the  afternoon ;  we 
sung  no  more  that  afternoon.  Before  evening  we  saw  the  former 
teacher,  and  spoke  with  him  on  the  subject ;  he  acknowledged  the 
impropriety,  but  had  not  been  aware  of  it.  All  I  asked  of  him 
was  to  go  into  school  and  keep  himself  still,  and  I  would  cure  the 
rest.  He  did  so,  but  told  me  afterwards  that  it  required  all  his 
power  of  nerve  to  keep  himself  calm ;  and  when  he  joined  in  sing- 
ing*, it  seemed  beyond  his  power.     Such  is  the  power  of  habit. 

BAD  HABITS  NOT  PERCEIVED  BY  OURSELVES. 

No  persons,  in  any  art  or  profession,  require  friendly  admoni- 
tion in  regard  to  bad  habits  more  than  singers,  and  perhaps  none 
are  so  unwilling  to  receive  it.  The  fact  is,  no  one  knows,  neither 
can  know,  how  his  performance  sounds  to  others ;  and  many  per- 
severe in  bad  habits,  which  become  still  worse  from  day  to  day, 
till  they  arc  truly  ridiculous,  even  themselves  being  judges,  if  they 
will  allow  their  faults  to  be  placed  before  them. 

SAYING   OF   TOSI. 

Tosi  very  judiciously  says,  "  The  correction  of  friends  that 
have  knowledge  instructs  very  much ;  but  still  greater  advantage 
is  derived  from  ill-natured  critics,  for  the  more  intent  they  are  to 
discover  defects,  the  greater  benefit  may  be  derived  from  them, 
and  that,  too,  without  any  obligation."  Many,  apparently,  who 
have  sung  for  a  long  time,  and,  perhaps,  have  been  extolled  for 
their  excellent  voices  and  execution,  if  they  subject  themselves  to 
the  instruction  of  a  competent  teacher,  are  slow  to  believe  that 
anything  can  be  essentially  wrong  with  them,  and  have  neither 
patience  nor  inclination  to  make  thorough  work  of  reforming  incor- 
rect habits;  and,  consequently,  when  they  leave  their  teacher, 
return  imperceptibly  to  their  former  manner  of  singing.  Every 
one  knows  that  to  learn  we  must  feel  the  need  of  leai-ning. 


156  IMPROPRIETIES   IN   EXECUTION. 

SAYING   OF   BATTISHILL. 

Battishillj  who  was  an  excellent  musician,  used  to  address  his 
scholars  thus,  when  he  could  not  correct  their  bad  habits  other- 
wise :  "  Are  you  a  good-tempered  fellow  ?  Will  you  forgive  me 
if  I  take  you  oflF? "  A  gentleman  who  was  taught  by  him  said  he 
learned  more  by  this  pleasantry  than  he  should  have  learned  from 
half  a  year's  lecturing. 

SAYING   OF   A    GERMAN    VIOLONCELLO   PLAYER. 

An  honest  old  German  violoncello  player  used  often  kindly  but 
earnestly  to  tell  a  famous  singer  he  used  ^to  accompany,  while 
hearing  her  songs,  "  Pray,  madam,  do  dat  passage  over  again,  and 
ting  (think)  all  de  dime  you  sing."  It  is  for  the  want  of  thought 
and  observation  that  bad  habits  are  contracted,  and,  consequently, 
words  are  repeated  in  music  without  any  effect  on  ourselves  or 
hearers. 


CHAPTER  XII. 
EXPRESSION  AND  ADArTATION. 

Dr.  Beattic's  Saying.  —  Importance  of  Expression.  —  Hooker.  —  First  Direc- 
tions to  Words.  — Characters  to  indicate  Expression.  —  Words  must  be  Antic- 
ipated and  Felt.  —  Old  Stylo  of  Singing.  —  Want  of  Adaptation.  —  Difficulty 
of  Adapting  Tunes  to  Hymns.  —  Words  for  Particular  Occasions.  —  Percep- 
tible Improprieties.  —  A  Traveller's  Representation  of  a  Performance.  — 
Voices  inadequate  to  the  Music  selected.  —  Pauses  in  Singing.  —  Observ- 
ance of  Punctuation.  —  Uniformity  Necessary.  —  Conduct  badly  adapted.  — 
Feelings  adapted  to  the  Subject. 

DR.    BEATTIE'S    saying. 

Expression,  says  Dr.  Beattie,  is  allowed  by  all  to  be  the  chief 
excellence  of  singing.  Without  this,  it  may  amuse  the  ear,  it  may 
give  a  little  exercise  to  the  mind  of  the  hearer ;  it  may,  for  a 
moment,  withdraw  our  attention  from  the  anxieties  of  life ;  it 
may  show  the  performer's  dexterity,  and  in  these  ways  aflford  a 
slight  pleasure  ;  but,  without  engaging  the  affections,  it  can  never 
yield  any  heart-felt  satisfaction.  The  voices  of  singers  may  be  in 
as  perfect  tune  as  the  organ,  and  possess  just  as  little  feeling. 

IMPORTANCE   OF   EXPRESSION. 

An  eminent  musician  once  observed,  that  "  to  be  a  good  singer, 
a  hundred  requisites  were  necessary ;  and  one  who  had  a  good 
voice  had  ninety-nine  of  them,  and  the  hundredth  was  a  sublime 
conception  of  the  imjwrt  of  the  words  and  music."  This  is  what 
is  meant  by  expression,  or  pathos,  in  singing ;  without  which,  the 
ear  may  be  gratified  with  harmonious  sounds,  or  tickled  with  beau- 
tiful or  rapid  execution ;  but  this  is  stopping  far  short  of  the  true 
intent  of  church  music.  Rousseau  says,  the  singer  who  sees  noth- 
14 


158  EXPRESSION    AND   ADAPTATION. 

ing  but  the  notes  of  his  part  can  be  but  ill  prepared  to  catch 
the  spirit  of  the  composer  of  either  music  or  words  ;  for,  to  give 
expression,  the  singer  must  act  in  the  same  manner  as  if  he  were 
not  only  performer,  but  composer,  of  the  words  and  music. 

HOOKER. 

Hooker  says,  "  In  order  to  render  the  music  of  the  sanctuary 
what  it  ought  to  be,  something  more  is  necessary  than  a  knowledge 
of  its  elementary  principles ;  that  expression  does  not  relate  so 
much  to  particular  words,  as  to  the  precise  idea  and  sentiment 
conveyed  by  the  whole  sentence."  You  cannot  change  the  tune 
to  correspond  with  all  the  changes  of  thought  and  feeling ;  but  the 
object  may  be  in  a  good  degree  attained  by  varying  the  style  of 
performing  the  same  tune.  We  have  said  that  singing  was  double 
oratory  ;  for,  to  the  sentiment  of  the  words  is  added  the  power  of 
melodious  sounds  ;  and,  if  those  who  sing  the  praises  of  God  would 
take  the  same  pains  to  give  effect  and  expression  to  the  words  they 
repeat  in  sacred  song,  as  those  who  have  cultivated  their  voices  to 
rehearse  secular,  frivolous,  and  sometimes  blasphemous  words,  what 
grand  results  might  have  been  expected  from  this  part  of  public 
worship  !  A  man  who  has  a  good  voice  has  what  is  indispensable 
to  make  a  good  singer ;  but  he  may  fail  of  ever  touching  the  feel- 
ings ;  while  the  man  with  less  beauty  and  power  of  voice,  with  a 
right  conception  of  the  music  and  sentiment,  may  cause  hearers  to 
feel  and  admire.  IMusic  may  be  made  to  express  grief,  gratitude 
and  joy  ;  but  meanness,  anger  and  malice,  never.  We  make  the 
foregoing  extracts  and  observations,  to  show  how  much  importance 
is  attached  to  the  subject  by  those  best  qualified  to  judge. 

FIRST    DIRECTIONS   TO    WORDS. 

A})Out  fifty  years  ago  a  book  of  Psalms  and  Hymns  was  pub- 
lished, introducing,  at  the  connnencemcnt  of  each,  a  [|^]  flat  or 
[^]  sharp,  to  indicate  the  general  character  of  the  words.  If  a 
sharp  was  there,  the  chorister  named  some  cheerful  tune,  without 
further  examination  ;  and  the  contrary  if  a  flat  was  found.     This, 


EXPRESSION    AM)    ADAPTATION.  15§ 

at  the  time,  was  considered  a  convenience,  apd  probably  led  to  the 
introduction  of  the  numerous  characters  since  made  use  of,  to  indi- 
cate to  the  singer  more  definitely  the  sentiment  and  expression  of 
each  verse. 

CHARACTERS    TO    INDICATE    EXPRESSION. 

The  first  attempt  to  introduce  characters  to  direct  the  performer 
to  give  expression  to  words  was  in  Worcester's  Psalms  and  Hymns, 
published  about  1812.  We  had  somewhat  to  do  with  the  sub- 
ject. It  was  anticipated  that  the  effect,  in  part,  would  be  to  pro- 
duce variation  rather  than  expression  ;  and  our  expectations  have 
been,  to  a  great  extent,  verified.  But  it  had  in  some  respects 
its  desired  effect,  for  it  turned  the  attention  of  singers  to  observe 
the  import  of  words,  who  had  hitherto  sung  on  through  all  kinds 
of  words,  regardless  of  their  meaning.  We  have  felt  much  like 
the  good  man  who  was  accused  by  an  infidel  of  misquoting  a 
passage  of  scripture  in  a  religious  meeting,  saying  "  he  had  been 
looking  in  the  Bible,  and  could  find  no  passage  just  like  it."  He 
received  in  answer,  "  I  th'ank  God  that  I  have  been  the  means  of 
making  you  look  into  the  Bible  once." 

WORDS    MUST    BE    ANTICIPATED    AND    FELT. 

Every  one  knows  that,  to  give  effect  to  words,  the  sentiment 
miLst  be  anticipated  and  felt.  But  those  who  follow  these  marked 
directions,  without  consulting  their  own  feelings  and  judgment, 
will  be  sure  to  give  a  mechanical  expression,  always  ineffective. 
For  instance,  when  a  line  commences  with  some  trifling  words,  but 
has  near  the  close  of  it  some  expression  of  joy  or  praise,  which 
led  the  compiler  to  place  a  mark  to  that  effect  at  the  begin- 
ning of  the  line,  and  at  the  sight  of  it  we  often  hear  the  whole 
choir  burst  forth  into  an  outrageous  crash  of  sound,  and  expend 
most  of  their  energy  before  arriving  at  the  imjx)rtant  word  or 
words  that  led  to  the  sign  found  at  the  beginning. 


160  EXPRESSION    AND   ADAPTATION, 


OLD    STYLE    OF    BINGINa. 

Previous  to  the  present  century,  it  would  seem  that  very  little 
regard  was  paid  in  psalmody  to  the  adaptation  of  music  to  the 
sentiment  of  the  words,  or  to  special  occasions.  Our  memory 
carries  us  back  some  sixty  years,  to  the  days  of  genuine  old-style 
singing,  —  the  days  when  old  St.  Ann's,  and  St.  Martin's,  and  a 
few  similar  tunes,  were  the  only  ones  sung,  and  when  singing 
schools  and  singing  books  were  almost  unknown.  In  imagination 
we  recall  the  sound,  as  it  impressed  us  in  the  days  of  childhood ; 
and  we  wish  that  terms  were  in  existence  to  convey  an  idea  of 
the  tone  and  manner.  Their  voices  were  tremendous  in  power, 
issuing  from  ample  chests  and  lungs,  invigorated  by  hard  labor 
and  simple  food,  and  unrestrained  by  dress.  They  commenced 
a  note  in  a  cautious  and  proper  manner,  carefully  swelling  it,  and 
with  the  swell  shaking  note  and  word  to  atoms ;  and  so  on  from 
note  to  note,  or  word  to  word.  It  was  no  insignificant,  tremulous 
voice,  but  grand,  majestic  and  heart-stirring ;  and,  when  applied 
to  such  tunes  as  Old  Hundred,  Mear  and  Canterbury,  every- 
thing around  seemed  to  tremble. 

WANT    OP    ADAPTATION. 

To  put  the  tune  and  words  together,  seemed  to  be  all  that  was 
sought  for.  Hence,  we  find  in  old  publications  many  solemn  and 
plaintive  words  set  to  cheerful  airs,  and  animated  words  set  to  minor 
music.  And  in  the  first  books  where  words  were  applied  to  the 
notes  of  the  tunes,  which  was  about  a  century  ago,  we  generally 
find  the  selection  appropriate.  At  a  funeral,  or  funeral  service,  the 
words,  "  Hark  from  the  tombs,"  &c.,  were  sung  to  the  tune  of 
"  Funeral  Thoughts  ;"  and  the  words  and  tune  so  associated,  that 
to  sing  those  words  to  any  other  tune  would  disturb  the  devotion 
of  a  whole  assembly.  But  the  tunes  that  w^ere  introduced  after 
this  ancient  music  was  driven  into  the  shade  had,  with  a  few  excep- 
tions, so  much  jingle  and  confusion  in  their  construction  and  in  the 


EXPRESSION    AND    ADAPTATION.  IGl 

application  of  words,  that  it  made  but  little  diflforcncc  what  the 
words  were,  for  they  were  lost  in  the  confusion  of  sounds.  But 
there  were  even  then  exceptions  occasional,  in  such  tunes  as  Wind- 
ham, Mortality,  by  llcad  ;  Lebanon,  Einnuius,  Brooktield,  by  Bil- 
lings ;  Mentz  and  Arnheini,  by  Ilolyokc,  and  Poland  and  China,  by 
Swan.  The  latter  tune,  in  its  construction  calculated  for  cheerful 
words,  having  the  words,  "  Why  do  we  mourn  departing  friends," 
was  formerly  used  at  funerals,  and  stole  the  character  of  solemnity, 
and  was  so  treated,  showing  the  power  of  association.  Besides, 
many  of  the  psalms  and  hynnis  that  were  formerly  used  were 
cither  historical,  didactic  or  doctrinal,  —  of  such  a  character  that 
it  made  but  little  difference  what  tune  was  applied  to  them ;  — but 
little  force  or  effect  could  Ix)  added  by  musical  sounds ;  for  if  the 
reader  cannot  make  the  hearer  understand  the  import  of  language, 
it  is  in  vain  to  attempt  it  by  singing. 

As  it  is  of  very  little  consequence  what  tune  is  made  use  of  to 
drag  through  them,  perhaps  it  would  be  advisable  to  adopt  the 
practice  of  many  heretofore,  and  sing  those  tunes  which  are  per- 
formed with  the  least  labor. 

DIFFICULTY    OP    ADAPTING^  TUNES   TO    HYMNS. 

Tlie  opinion  has  prevailed,  which  is  very  erroneous,  that  it 
required  but  little  musical  skill  or  taste  to  apply  a  plain  psalm 
tune  to  words ;  but  the  fact  is,  one  may  learn  to  sing  a  recitative, 
song  or  chorus,  well,  by  hearing  or  practising  with  others,  when  the 
music  is  specially  v/ritten  for  the  words,  and  yet  not  be  able  to  apply 
in  a  proper  manner  a  plain  psahn  tune  to  a  hymn,  where  the  sen- 
timent varies  in  (^ach  verse.  It  requires  no  great  skill  to  use 
words  to  sing  a  tunc,  but  much  skill,  practice  and  attention,  to  be 
able  to  make  use  of  the  tune  to  give  proper  expression  to  words". 

WORDS    FOR    PARTICULAR    OCCASIONS. 

After  all,  there  was  less  inconsistency  in  adapting  words  to 
music,  than  in  the  application  of  words  and  music  to  particu- 


162  EXPRESSION   AND   ADAPTATION. 

lar  occasions.  We  have  known  many  strange  and  egregious 
improprieties  of  this  kind.  When  there  was  any  public  occasion 
which  required  singing,  such  as  an  ordination  or  installation  of  a 
minister,  dedication  of  a  church,  installation  of  a  Masonic  lodge, 
Fast,  Thanksgiving,  Christmas,  &c.,  it  seemed  that,  instead  of  select- 
ing words  appropriate  for  the  occasion,  the  inquiry  was,  rather, 
what  tune  or  tunes  were  the  most  popular,  or  would  most  please. 
We  will  mention  one  or  two  examples.  When  Judgment  Hymn, 
the  air  said  to  have  been  written  by  Martin  Luther,  was  first  intro- 
duced before  the  public  in  this  country,  and  performed  by  the  Han- 
del and  Haydn  Society,  with  the  words,  "  Great  God,  what  do  I  see 
and  hear,"  &c.,  with  instrumental  accompaniments,  the  eflfect  was 
powerful ;  and  the  fame  of  it  soon  spread  through  the  country, 
and  it  being  understood  that  it  was  not  diflScult  to  perform,  copies 
were  procured  by  a  choir  for  the  purpose  of  singing  it  at  an  ordi- 
nation. Billings'  "  x^nthem  for  Easter,"  words,  "  The  Lord  is 
risen  indeed,"  was  used,  and  considered  proper,  on  all  the  foregoing 
occasions. 

PERCEPTIBLE  IMPROPRIETIES. 

There  are  but  few  persons,  however,  that  would  not  see  and  feel 
the  impropriety  of  singing  the  words  "  That  awful  day  will  surely 
come"  to  such  a  tune  as  Coronation;  or  to  apply  the  words  of 
Coronation,  "  All  hail  the  power  of  Jesus'  name,"  to  such  a 
tune  as  Windsor.  It  is,  however,  evident  that  the  solemnity  or 
vivacity  of  a  tune  does  not  depend  altogether  on  its  key,  as 
some  suppose.  Tunes  on  a  major  key,  that  are  kept  within  the 
compass  of  a  few  notes  on  the  staff,  such  as  Canterbury,  York  and 
Dresden,  may  be  used  to  give  expression  to  solemn  words  ;  but, 
after  all,  much  depends  on  the  manner  of  performance,  and  the 
association  of  the  words  you  have  first  heard  applied  to  the  tune. 

A    traveller's   representation    of    a    PERFORMANCE. 

^e  inconsistencies  of  wliich  we  are  treating  are  vividly  repre- 
sented in  the  following  narrative,  which  we  somewhere  read,  by  a 


EXPRESSION    AND    ADAPTATION.  1G3 

gentleman  leisurely  travelling  on  horseback  from  a  city  into  the 
adjoining  country.  It  was  evidently  intended  as  a  burlesque,  not 
only  upon  adaptation,  but  ignorant  writers  of  music,  and  their 
mode  and  manner  of  instruction.  The  gentleman  says  :  "  Seeing  a 
gathering  at  a  school-house  near  the  road,  remote  from  any  other 
building,  I  dismounted,  tied  my  horse,  approached  the  house,  — 
in(|uired  the  occasion  of  the  collection,  —  was  told  that  their  sing- 
inc-master  had  made  an  anthem  for  an  ordination  that  was  to  take 
place  in  a  few  days,  and  that  the  singere  had  met  to  learn  it. 
Being  a  stranger,  the  crowd  that  had  gathered  about  the  house  to 
hear  the  performance  politely  made  a  passage  for  me,  even  into 
the  interior.  The  singei-s,  I  found,  all  held  a  manuscript  copy  of 
what  they  were  singing ;  the  leader,  with  his  coat  off,  beating 
time  with  his  head,  both  hands,  and  one  foot.  Knowing  the 
impropriety  of  entering  a  room  where  singers  are  in  the  midst  of 
rehearsing  a  tune,  I  held  back  at  first ;  but  no,  —  as  though  they 
feared  I  should  lose  some  important  strain  by  delay,  the  spectators 
hurried  me  on  to  the  sight  and  hearing  of  the  performers.  When 
they  had  got  through,  and  sounded  out  the  Amen,  long  and  loud, 
the  leader  and  author  politely  handed  me  a  copy  of  the  anthem  ; 
and  as  their  articulation  was  such  that  I  had  not  been  able  to  dis- 
tinoruish  a  sin^rle  word  of  what  I  had  heard  sunir,  I  therefore  set 
about  reading  them,  and  found,  to  my  astonishment,  that  they  were 
the  familiar  words  of  boyhood,  being  a  fable  taken  from  an  old 
spelling-book,  commencing  as  follows  :  '  An  old  man  found  a  rude 
boy  upon  one  of  his  trees,  stealing  apples,  and  desired  him  to  come 
down,'  &c.  They  soon  commenced  the  anthem  again.  I  heard  it 
through  ;  my  feelings  sometimes  disposed  me  to  laugh,  sometimes 
to  weep  ;  taking  the  words  and  music,  and  mode  of  singing,  alto> 
gether,  it  was  an  amusing  scene.  I  retired,  after  a  few  necessary 
compliments  for  their  politeness,  mounted  my  horse,  went  on  my 
way ;  and,  on  reflection,  concluded  that  I  had  known  music  and 
words  on  other  occasions,  although  not  quite  so  unpoetical,  still 
about  as  illy  applicable  to  the  time,  place  and  circumstances,  for 
which  they  were  learning  the  tune." 


164 


EXPRESSION   AND   ADAPTATION. 


VOICES    INADEQUATE   TO   MUSIC    SELECTED. 


I 


Sometimes  a  body  of  singers  will  attempt  to  perform  musical 
pieces  with  utterly  inadequate  means.  Select  music,  which  requires 
a  multitude  of  voices  and  powerful  instrumental  accompaniments, 
will  be  attempted  by  a  few  inefficient  voices,  unsupported  by 
instruments.  We  have  heard  the  anthem,  or  great  chorus,  "Glory 
be  to  God  on  high,"  commenced,  and  sung  to  the  end,  by  six  or 
eight  students  of  a  college,  on  commencement  evening  ;  and,  being 
disappointed  in  a  player  on  the  piano,  as  well  as  a  female  singer, 
where  those  little  symphonies  occur  between  the  \vords  "  peace 
on  earth,"  some  of  the  singers  actually  tumtum'd  thcra  with  their 
voices.  Whatever  their  skill  might  have  been,  it  is  evident  cour- 
age was  not  wanting ;  on  their  views  of  adaptation  of  music  to 
voices  there  needs  no  comment. 

PAUSES    IN   SINGING. 

Pauses  in  singing  are  of  two  kinds,  —  actual  suspension  of 
sound,  called  a  rest,  either  written  or  imagined,  or  the  prolonga- 
tion of  a  note,  called  a  hold.  In  addition  to  these  there  may  be 
a  pause  more  or  less  prolonged,  according  to  the  taste  of  the  leader, 
at  the  close  of  a  line  of  poetry  in  choral  music ;  but  the  latter  is 
not  always  admissible ;  as  we  have  before  shown  that,  by  reason  of 
a  peculiar  connection  of  the  words  in  successive  lines,  the  sense 
would  be  perverted  by  a  pause. 

OBSERVANCE    OF    PUNCTUATION. 

There  is  a  great  difference  in  practice,  if  not  in  theory,  in  regard 
iG  the  notice  taken  of  the  punctuation  of  the  words.  Some  take 
very  little  notice  of  it  in  singing ;  others  sometimes  observe  stops, 
and  again  others  pass  them  unnoticed ;  while  others  give  a  well- 
timed  and  reading-like  suspension  of  voice,  without  la]x)r,  which  is 
always  pleasing.  Sometimes  tlic  voices  stop,  while  the  organ 
or  instruments  do  not.  Tlicn,  again,  we  hear  clwirs  and  organij 
stop  so  jibruptly  that   one  would   be   led   to   suppose  that  they 


E.\^^vl:^^sluN  and  adaptation.        .  1G5 

were  suddenly  suffocated.  But  one  thing  must  be  obvious ;  that, 
to  prevent  confusion,  strict  conformity  to  a  leader  or  organist,  or 
both,  is  necessary ;  for  it  is  not  to  be  expected  that  all  will  have 
the  same  ideas,  in  regard  to  this  subject,  any  more  in  singing  than 
in  reading;  and,  to  be  a  good  singer,  it  is  necessary  to  hear,  as  well 
as  sing.  The  old  proverb,  that  "  A  man  has  two  ears,  and  but  one 
tongue,  and  that  while  he  uses  the  latter  he  must  hear  with  loth 
ears,"  if  necessary  in  talking,  is  doubly  so  in  singing. 

UNIFORMITY    NECESSARY. 

"Without  uniformity  in  the  manner  of  singing  and  giving  expres- 
sion, there  can  be  no  great  effect.  It  is,  however,  hardly  too  much 
to  say,  that  it  is  better  to  be  united  in  a  wrong  manner  than  be 
divided  about  the  right ;  therefore  it  is  necessjiry,  after  all,  that 
singers,  as  we  have  said,  have  their  ears  open,  and  with  a  ready 
heart,  mind  and  voice,  "follow  their  leader,"  if  his  manner  is  tol- 
erable, in  speaking  words,  in  movement,  accent,  and  mode  of 
expressing  sentiment. 

CONDUCT  BADLY  ADAPTED. 

When  we  speak  of  adaptation  of  words  and  music,  no  one  dis- 
putes the  propriety  of  strictly  conforming  to  reason  and  taste, 
for  the  purpose  of  giving  the  desired  effect,  on  any  given  occasion. 
We  feel  constrained  to  say,  howcTcr,  in  addition,  that  wc  have 
witnessed  occasions  where  the  music  and  words  were  well  chosen, 
but  the  conduct  of  the  performers  was  little  in  keeping  with  the 
performance  of  sacred  music,  on  a  solemn  occasion.  The  following 
18  a  painful  instance. 

Wc  were  once  invited  to  attend  the  dedication  of  a  church 
and  ordination  of  a  minister  at  the  same  time  and  place,  not  forty 
miles  from  Boston,  with  a  society  of  singers  which  we  have  had 
occasion  to  mention  with  much  interest;  —  most  of  the  voices  which 
then  tof)k  a  part  are  now  stilled  in  dciUh,  and  we  forbear  to  men- 
tion names.  It  is  enough  to  say  that  a  great  pro[X)rtion  of  the 
members  were  professional  men,  and  such,  in  those  days,  were 


166  EXPRESSION    AND   ADAPTATION. 

especially  more  exposed  to  pernicious  beverage.  When  we 
arrived  at  the  place  of  rehearsal,  which  was  about  a  hundred  rods 
from  the  newly-erected  house,  we  found  the  members  gathered, 
the  hall  of  rehearsal  in  readiness,  —  but  a  majority  were  engaged, 
not  exactly  in  playing  on  glassichords,  nor  after  the  fashion 
of  the  Bellringers,  to  make  tunes,  for  they  had  but  one  glass  to  a 
man  to  jingle.  Every  one,  according  to  their  own  notion  of  time, 
stirred  the  delicious  draught.  They  had  been  travelling  all  the 
morning,  were  fatigued,  and  such  potations  were  regarded  as  really 
necessary  on  such  occasions.  This  being  over,  all  were  called  to  a 
rehearsal ;  this  being  in  part  accomplished,  word  was  received  that 
all  was  ready  at  the  meeting-house.  Books  were  closed,  and  many 
again  repaired  to  the  refreshment  room ;  and  one  after  another, 
apparently  with  lingering  steps,  moved  toward  the  house  of  wor- 
ship. Such  of  the  clergymen  as  were  not  expected  to  take  a  part 
in  the  pulpit,  took  their  seats  with  the  singers  in  the  gallery.  The 
exercises  being  ended,  all  returned  to  the  place  of  rehearsal  with 
cheerful  steps,  where  the  same  scene  was  acted  over  again.  We 
saw  many  of  them  on  their  way  home,  but  we  forbear  to  describe 
the  condition  of  some. 

Suffice  it  to  say,  that  it  was  at  the  period  when  the  use  of 
intoxicating  drink  had  well-nigh  destroyed  both  good  and  bad 
together ;  and,  from  that  very  day,  those  serious  individuals,  who 
had  taken  a  part  in  the  motley  exercises,  impressed  with  the  incon- 
sistency of  the  custom  of  the  times,  set  about  laboring  in  the  pul- 
pit, and  by  the  way,  to  convince  others  of  the  awful  consequences 
to  both  soul  and  body ;  being  among  the  first  who  took  an  active 
part  in  the  cause  of  temperance.  We  presume  that  every  reader 
will  concede  that  the  conduct  and  example  of  these  individuals,  on 
this  occasion,  were  not  well  adapted  to  the  duties  they  performed. 

FEELINGS    ADAPTED    TO    THE    SUBJECT. 

How  often  do  we  hear  the  most  solemn  words  rehearsed  in 
music,  when  the  countenance  and  apparent  indifference  of  the 
performer,  or   his  entire  attention  to  reading  the  notes,  to  the  neg- 


EXPRESSION    AND    ADAPTATION.  167 

Icct  of  the  words,  lead  you  to  conclude  that  neither  words  nor 
music  will  produce  any  marked  eflfect ! 

The  words  we  sing  must  be  so  clearly  apprehended  and  felt  as 
to  make  them  our  own.  "We  must  speak  them  out ;  for  the  words 
will  not,  without  our  aid,  make  any  impression  on  our  own  feelings, 
or  the  hearts  of  others.  Reason  teaches  us  that,  if  words  are 
sacred,  the  mind  should  be  directed  toward  the  Being  we  address, 
and  carried  away  from  man  and  earth,  and  from  all  thought  of 
making  a  display  of  musical  talent.  If  the  words  are  solemn  and 
sublime,  the  mind  should  be  fixed  on  the  grand  and  awful  scenes 
which  time  and  eternity  present.  If  plaintive  or  pathetic,  we  should 
bring  the  scenes  they  are  intended  to  represent  home  to  our  own 
hearts.  If  supplicatory,  our  minds  should  be  impressed  mih  the 
fact  that  it  is  as  solemn  to  address  the  throne  of  grace  in  sacred 
song,  as  to  use  the  same  language  in  the  voice  of  prayer.  With 
these  feelings  and  views,  individuals  and  choii-s  can  scarcely  fail 
of  giving  that  kind  of  expression  which  will  do  good ;  and  without 
them  all  is  solemn  mockery. 


CHAPTER  XIII. 
INSTRUMENTS    OF    MUSIC. 


i 


Puritan  Fathers  rejected  Instruments.  —  Bass-viols  introduced  in  Billings' 
day.  —  Human  Voice  uncertain  in  Gi\-ing  the  Pitch  of  a  Tunc. — Pitch-pipe  the 
first  Instrument  used.  —  Tuning-fork  and  Brass  Reed.  —  Opposition  to  the 
Bass-viol  or  Violoncello.  —  Extreme  Case  of  Opposition.  —  Different  Instru- 
ments introduced.  —  Flute,  Hautboy,  Clarinet,  Ea;?soon.  —  Perplexities 
attending  them.  —  Instrumental  Accompaniments.  —  Confusion  of  Instru- 
ments.—  Interludes. — Privilege  of  Players  on  Instruments. — History  of 
Organs. —  First  Organ  built  in  America.  —  First  Imported  Organ.  — Its  His- 
tory.—  Organs  astonished  all. — Former  Objections  to  Organs.  —  Change 
in  Plapng  it.  —  Scarcity  of  Organists.  —  Organists  and  Singers  not  moving 
together.  —  Advantage  of  having  the  Organ  move  in  advance.  —  Interludes 
and  Voluntaries.  —  Instruments  attempt  to  imitate  the  Organ. 

PURITAN    FATHERS    REJECTED    INSTRUMENTS    OF    MUSIC. 

Our  Puritan  fathers,  when  they  left  their  native  shores,  that 
they  might  escape  a  religion  of  forms,  naturally  condemned  and 
avoided  all  the  outward  show  of  the  service  of  the  Church  of  Eng- 
land ;  and  with  usages  which  to  them  appeared  superfluoiLS,  and 
which  they  had  been  accustomed  to  hear,  were  also  instruments  of 
music,  —  organs  in  particular,  — but  all,  of  every  description,  were 
discarded,  as  a  part  and  parcel  of  unsanctificd  and  unwarranted 
abuses  of  the  pure  worship  of  the  followers  of  the  meek  and  lowly 
Jesus.  Whatever  other  use  they  might  have  made  of  nuisical 
instruments,  for  the  first  hundred  years  after  they  landed  it  is 
certain  that  no  one  was  allowed  to  be  heard  in  the  house  of 
prayer. 

BASS-VIOL    INTRODUCED. 

About  the  commencement  of  Billings'  career,  we  find  that  the 
bass-viol  (now  called  violoncello)  was  used  in  his  schools  and  con- 


INSTRUMENTS    OF    MUSIC.  169 

certs  of  sacred  music,  and  to  accompany  tho  singer  of  songs.  This 
simple  and  grave  instrument,  however,  created  astonishment  in 
some,  alarm  and  disgust  in  others,  and  some  few  were  delighted 
with  it ;  but,  generally,  it  was  considered  unfit  to  have  a  place 
within  the  walls  of  a  church. 

UUMAN    VOICE    UNCERTAIN    IN    GIVING    THE    PITCH    OF    A    TUNE. 

As  it  was,  and  is  7iow,  it  probably  always  will  be,  a  matter  of 
uncertainty,  which  no  practice  or  skill  can  make  sure,  to  be  able 
directly,  and  without  failure,  to  give  the  exact  sound  of  a  given 
note  or  letter  at  any  moment,  with  the  human  voice.  Therefore, 
after  schools  began  to  multiply,  and  with  them  parts  were  added 
to  the  melody,  it  made  it  more  and  more  necessary  that  tunes  should 
have  their  proj^cr  pitch,  to  keep  all  the  notes  '■  Ithin  the  compass 
of  the  voice ;  and  that  some  means  should  be  devised  to  make  the 
sound,  or  pitch,  certain  and  correct. 

riTCII-PIPE    FIRST    INSTRUMENT    USED. 

The  first  instrument  to  effect  this  object,  in  church,  that  we 
know  of,  was  what  was  called  a  pitch-pipe.  This  was  a  box  six  or 
'  ight  inches  in  length,  about  four  wide,  and  one  tliick ;  at  one  end 
a  mouth-piece;  in  the  inside  a  slide  that  moved  up  and  down, 
having  the  letters  of  the  octave  on  one  edge,  so  that  by  moving  the 
slide  to  any  one  of  these  letters,  then  blowing  into  the  mouth-piece, 
the  sound  of  the  letter  was  produced.  This  simple  sound  had  to  be 
made  cautioasly,  and  the  pitch  to  the  other  parts  carefully  found, 
and  dexterously  handed  round  to  the  several  parts,  to  prevent 
detection,  and  consequent  reproof  from  the  fathei-s,  for  sounding 
an  instrument  in  church.  We  may  wonder  that  a  sound  so  trifling 
should  disturb  any  one,  eighty  or  ninety  years  ago ;  or  you  will 
perhaps  think  it  still  more  strange,  when  told  that  the  same  preju- 
dices existed  in  the  queen  city  of  Ohio  (Cincinnati)  only  seventeen 
years  ago,  a  place  that  is  regarded  as  a  pattern  ibr  all  the  west, 
when  and  where  the  same  scenes  and  prejudices  were  encountered 
as  in  New  England  seventy  years  ago. 
15 


170  INSTRUMENTS   OF   MUSIC. 

TUNING-FORK   AND   BRASS   REED. 

The  next  instrument  was  a  tuning-fork.  This  was  made  of 
steel,  with  a  handle,  and  two  parallel  branches  at  one  end  ;.  when 
struck  against  any  hard  substance,  it  would  vibrate,  and,  by 
placing  it  to  the  ear,  give  the  sound  of  one  letter,  which  was  usu- 
ally G,  A,  or  C.  This  was  of  no  more  utility  than  the  pipe,  but 
more  convenient  to  carry  about.  After  that,  a  small  brass  tube, 
with  a  reed,  which  also  sounded  but  one  note,  was  and  is  now  used 
to  regulate  the  pitch  of  tunes ;  also  to  tune  other  instruments  by, 
being  so  constructed  that  it  can  be  held  in  the  mouth  and  sounded 
while  tuning  a  stringed  or  keyed  instrument,  and  the  sound  con- 
tinued through  the  operation. 

OPPOSITION    TO    THE    BASS-VIOL   OR    VIOLONCELLO. 

About  the  commencement,  and  even  long  before  the  present 
century,  the  bass-viol  was  here  and  there  introduced  into  churches. 
It  was  the  grand  entering-wedge  that  opened  the  way  for  all  other 
instruments.  Although  the  generation  that  left  England  with  their 
strong  prejudices  against  the  use  of  instruments  in  the  church  had 
passed  away,  still  the  story,  as  told  by  their  fathers,  was  received, 
and  with  it  the  same  feelings  of  opposition.  The  opposition  man- 
ifested at  its  first  appearance  and  sound  would  hardly  be  now 
credited.  Suffice  it  to  say,  that,  for  a  long  time,  it  was  so  strong 
and  bitter,  that  in  consequence  of  it  many  churches  had  well-nigh 
been  rent  asunder.  Nothing  could  reconcile  individuals,  in  some 
instances,  but  an  entire  expulsion  of  the  instrument  from  sight  and 
hearing.  There  is  no  accounting  for  the  opinions  and  prejudices 
of  mankind.  The  present  generation  look  back,  and  talk  of  those 
who  indulged  these  prejudices  as  bigoted,  narrow-minded,  and  the 
like,  and  pronounce  it  the  result  of  the  ignorance  and  superstition 
of  by-gone  days.  But  human  nature  is  still  the  same,  and  WG 
need  not  go  far,  at  the  present  day,  to  find  the*  same  spirit.  Many 
arc  as  tenacious  about  changing  a  hymn-book  that  they  have  used 
some  fifteen  or  twenty  years,  as  our  forefathers  were,  who  had  used 
the  same  book  a  hundred  years,  —  so  long  that  the  book  was  looked 


A 


INSTRUMENTS   OP   MUSIC.  171 

upon  by  the  multitude  as  a  holy  book,  sacred  and  inspired,  like  the 
Bible. 

A  history  of  the  battles  fought  by  or  with  the  innocent  bass- 
viol,  sometimes  victorious  at  once,  then  again  driven  from  the 
field,  then  renewing  its  attacks,  till  finally  opposition  was  rather 
worried  out  than  reconciled,  would  be  more  ludicrous  and 
laughable  than  could  be  furnished  in  fiction  by  the  most  fruitful 
imagination.  Some,  at  the  sound,  would  run  out  of  the  meeting- 
house; others  immediately  dissolve  their  connection  with  the 
church  and  congregation;  others  lay  their  grievance  before  the 
church  or  town,  praying  to  have  the  idol-instrument  banished, 
asserting  that  it  was  of  the  same  form  as  the  fiddle  they  danced 
after  when  young,  only  a  little  larger.  It  was  opposed,  like  all 
other  innovations  or  improvements,  on  the  ground  of  conscience^ 
which  is  a  convenient  pretext  for  some  other  word,  that  would 
much  better  express  the  truth. 

We  will  dismiss  this  instrument,  only  mentioning  one  extreme 
case  of  prejudice  and  ignorance,  that  cured  itself.  For,  if  we 
should  attempt  to  relate  them  all,  generally  and  truthfully,  it 
would  appear  that  the  battles  were  fought  with  no  less  vigor,  and 
far  less  consistency,  or  even  Christian  spirit,  than  were  the  battles 
of  the  Revolution. 

EXTREME   CASE   OF   OPPOSITION   CURED. 

Not  more  than  twenty  years  ago,  in  a  town  now  a  city,  was  a 
very  respectable  church,  as  it  regards  wealth,  piety,  or  general 
intelligence  ;  but  which  had  never,  in  any  respect,  stepped  out  of  the 
track  of  their  fathers,  in  regard  to  modes,  forms  and  customs,  of 
religious  worship.  A  chorister,  or  leader,  stood  in  front  of  tlic 
pulpit  and  "  raised  the  tune,"  and  those  that  had  skill,  or  a  inind 
to  sing,  followed  after  as  they  could.  By  and  by,  a  violoncello- 
player,  who  was  also  a  good  singer,  from  a  foreign  country,  came 
among  them.  He  was  of  the  same  denomination,  but  in  his  native 
country  had  broken  loose  from  the  fetters  of  old  customs.  Of 
course,  he  was  uneasy  under  the  singing  administration.     Ho  first 


172  INSTRUMENTS   OF    MUSIC. 

obtained  consent  for  a  few  singers  to  sit  together  in  the  front  gal- 
lery. This  grieved  many,  but  was  soon  overlooked.  He  next  pro- 
posed to  play  the  violoncello ;  at  which  all  started  with  amazement, 
that  he,  being  a  professor  of  religion,  should  even  suggest  such  a 
thing.  After  waiting  till  all  was  calm,  he,  one  Sabbath  morning, 
before  the  services  commenced,  placed  his  viol  under  a  seat,  and 
when  they  sung,  played,  keeping  it  out  of  sight.  At  noon  all 
praised  the  singing,  but  no  one  knew  of  the  hidden  aid.  But, 
unfortunately,  some  boys  saw  it,  and  gave  information ;  consterna- 
tion ran  through  the  ranks,  particularly  of  the  aged.  The  conse- 
quence was,  that  a  vestry  meeting  was  called,  and  a  committee 
chosen  to  wait  on  the  aggrieving  brother.  They  called  on  him  the 
next  day  at  his  shop,  told  him  their  errand,  expressed  their  sur- 
prise that  he  should,  against  all  the  principles  of  propriety  and 
religion,  carry  that  instrument  in  the  form  of  a  fiddle  into  the 
church.  He  mildly  answered  that  he  thought  they  were  laboring 
under  a  mistake  in  regard  to  the  instrument, —  that  he  had  it  made 
in  his  own  country  for  the  express  purpose  of  playing  church- 
music,  and  had  used  it  for  that  purpose  many  years.  And  he  had 
named  it  a  "  Godly  Viol,"  and  thought  he  could  satisfy  them  of 
the  fact  that  it  was  not  like  other  viols.  He  brought  the  viol  for- 
ward, played  and  sung  several  tunes,  which  he  was  capable  of  doing 
in  the  most  touching  manner.  The  committee  felt  the  power  of 
the  music,  and,  looking  at  each  other,  said  "  There  can  be  no 
harm  in  that,  I  am  sure  ;  "  and  consequently  rc}X)rtcd  that  it  was 
"  a  Godly  viol,"  —  and  however  incredible  the  account  may  seem, 
it  worked  a  perfect  cure  for  the  prejudice.  Soon  after,  other  instru- 
ments were  introduced,  and  then  the  organ. 

DIFFERENT  INSTRUMENTS  INTRODUCED. 

Man  is  restless.  When  he  has  accomplished  an  object,  even 
though  it  be  through  violent  opimsition,  he  is  then  looking  for 
something  new  to  occupy  his  mind  and  will.  After  the  bass-viol 
had  found  an  unmolested  resting-place  in  most  of  the  churches, 
all  the  lovers  of  music  were  in  search  of  some  other  instrument  to 


INSTRUMENTS   OF   MUSIC.  173 

accompany  it.     Well  may  the  lovers  of  music   be  classed  with 
those  who  cry  "  Give  !  give !  " 

THE    FLUTE. 

The  flute  was  next  introduced.  It  was  not  only  the  cheapest, 
but  the  most  convenient  for  immediate  use  ;  for  in  those  days  the 
instrument  had  but  one  key,  and  the  fingering  difiered  so  little 
from  that  of  the  fife,  that  the  militia  fifers  could  manage  it  with 
but  little  practice,  although  the  flats  and  sharps,  if  they  could 
have  spoken,  would  probably  have  accused  the  performer  of  grossly 
slighting  them.  Still,  nothing  was  noticed  by  the  hearers,  for  their 
attention  was  directed  to  the  sound  of  some  of  the  prominent  notes, 
rather  than  to  the  perfection  of  the  tones. 


HAUTBOY. 

Jihe  next  instrument  was  the  hautboy,  the  fingering  much  the 
as  the  flute ;  but  the  wind,  being  communicated  through  a 
te  reed,  required  a  correct  ear,  and  a  very  considerable  degree 
"if  skill,  to  manage  it ;  also,  in  unskilful  hands,  it  was  subject  to 
squeaking  and  squalling ;  therefore,  it  did  not  receive  very  much 
favor  or  attention,  but  was  looked  upon  as  of  doubtful  character. 

CLARINET. 

After  the  hautboy  came  the  clarinet.  This  instrument  aston- 
ished every  beholder,  not  so  much,  perhaps,  on  account  of  its  sound, 
as  its  machinery.  One  that  could  manage  the  keys  of  a  clarinet, 
forty-five  years  ago,  so  as  to  play  a  tune,  was  one  of  the  wonders 
of  the  age.  Children  of  all  ages  would  crowd  around  the  per- 
former, and  wonder  and  admire  when  the  keys  were  moved. 

BASSOON. 

After  this  came  the  bassoon.     This  was  c-onsidered  the  climax 
of  instruments  for  bass,  coinciding  so  well  with   the  human  voice 
and  bass-viol  in  church  music,  and  having  such  power  in  a  band 
of  instruments,  that  for  many  years  it  had  general  favor. 
15* 


174  INSTRUMENTS   OF   MUSIC. 

PERPLEXITIES    ATTENDING   THEM. 

In  all  the  foregoing  instruments,  in  addition  to  the  want  of  skill 
in  fingering,  to  make  the  semitones,  the  instruments  themselves 
were  usually  purchased  second-hand,  and  probably  never  correct. 
Therefore,  to  make  these  harmonize,  in  unskilful  hands,  would 
require  the  skill  and  patience  even  of  a  professor  of  music  at  the 
present  day.  To  tune  the  bass-viol  with  these  variable  instruments 
caused  much  necessary  and  more  unnecessary  sawing  and  snapping 
of  strings  and  squeaking  of  the  wind  instruments,  to  the  no  small 
annoyance  of  hearers,  especially  when  assembled  or  assembling  in 
a  congregation.  This  exercise  of  tuning  could  be  borne  with,  for 
once,  at  the  commencement  of  worship  ;  but  this  was  not  the  end, 
—  they  must  be  tried  and  proved  before  each  singing. 

These  instruments  were,  notwithstanding,  calculated  to  please  the 
ear.  The  young  heard  with  admiration.  Soon  came  a  struggle 
between  voices  and  instruments ;  —  not  only  so,  but  instruments "  ^ 
struggled  for  mastery  among  themselves ;  each  wished  to  have  his  jf 
own  instrument  heard,  and,  as  he  acquired  skill,  no  regard  was 
paid  to  the  particular  standing  of  the  letter  or  notes  on  the  staff, 
but  each  that  could,  must  soar  away  to  find  the  letter  in  some 
unknown  regions  above,  or  sink  as  far  below.  The  strings  of  the 
double-bass,  when  that  was  introduced,  must  be  sawed  with  such 
violence  that  the  crash  of  the  strins;  on  the  finger-board  made  a 
more  conspicuous  noise  than  the  vibration.  This  display,  added  to 
the  tuning  of  the  instruments,  while  the  minister  was  reading  the 
hymn,  if  not  during  other  services,  must  have  been  of  wonderful 
assistance  to  his  devotional  feelings  ! 

INSTRUMENTAL  ACCOMPANIMENTS. 

These  instrumental  accompaniments  prevailed  in  New  England 
from  the  entrance  of  the  bass-viol  on  the  stage,  increasing  gradu- 
ally, as  they  were  introduced  into  this  country,  until  at  last  came 
the  violin,  formerly  called  fiddle,  and  in  the  hands  of  many  at  the 
present  day  is  worthy  of  no  better  name.     The  sound  of  this 


INSTRUMENTS   OF   MUSIC.  175 

instrument  awakened  associations  not  very  favorable  to  devotion, 
with  the  aged  particularly,  but  joy  and  gladness  to  the  young. 
But  what  could  be  done  ?  They  had  suffered  other  instruments 
to  be  introduced,  one  after  another,  without  complaint,  from  the 
bass-viol  to  those  of  tremendous  martial  blast,  and  now  the  fiddle 
was  there.  When  it  was  first  heard,  many/e//,  if  they  did  not 
exclaim,  "  That  Satan  came  also  among  them." 

CONFUSION    OF    iVsTRUMENTS. 

The  perplexity  and  parade  of  such  a  heterogeneous  collection 
of  instrujnents  soon  became  irksome.  All  were  convinced  that 
solemnity  and  devotion  were  in  many  instances  driven  out  of  the 
church ;  but  the  instruments  were  there,  and  how  could  they  Ije 
removed,  was  the  question.  There  was  but  one  alternative,  and 
that  was,  to  put  an  organ  in  their  stead.  After  that  was  done, 
many  persisted  in  showing  themselves,  with  their  favorite  instru- 
ment, at  its  side,  until  they  found  it  futile  to  try  to  make  a  dis- 
play, or  contend  with  or  add  to  the  sound  of  the  organ. 

PLAYING    OF    INTERLUDES,    ETC. 

We  shall  not  enter  into  particulars  in  regard  to  this  noble  instru- 
ment ;  but,  in  connection  with  other  instruments,  speak  of  volun- 
taries and  interludes ;  or,  in  other  words,  playing  the  congregation 
into  church,  into  the  tunes,  and  out  of  church.  The  manner  and 
continuance  of  this  practice  is  left  for  judgment  or  fancy,  or  both, 
to  dictate ;  and  if  no  advantage  is  derived  by  the  congregation,  in 
using  the  organ  for  this  purpose,  it  certainly  gives  the  performer 
an  opportunity  of  displaying  his  skill,  as  well  as  to  recommend  the 
organ-builder.  But  we  leave  this  king  of  instnimcnts,  and  its 
appropriate  powers,  uses  and  abuses,  to  speak  for  itself 

These  exercises  having  been  heard  as  performed  on  the  organ,  that 
propensity  to  imitate,  and  not  to  be  outdone,  is  called  into  action, 
by  players  on  instrument?;,  where  there  is  no  organ ;  and  human 
nature  must  be  indulged,  and  try  its  skill  at  these  organ  appendages ; 


176  INSTRUMENTS   OF   MUSIC. 

and  if  but  a  few  instruments  are  collected,  those  few  must  go 
through  the  ceremony. 

We  have  heard  all  the  routine  of  playing  the  tune  before  com- 
mencing the  singing,  and  interludes  between  the  verses,  by  a  single 
violoncello.  But  this,  being  done  by  a  skilful  hand,  was,  on  the 
whole,  rather  interesting. 

We  have  heard  the  same  exercise  performed  by  any  number  of 
diflferent  instruments,  from  one  to  a  dozen. 

When  there  is  a  great  number  of  instruments,  they  are  deprived 
of  the  privilege  of  extemporizing,  as  organists  do ;  for,  if  every  one 
should  follow  fancy,  they  would  neither  harmonize  nor  end  together. 
Therefore,  they  have  to  confine  themselves,  however  reluctantly, 
to  the  closing  line  or  lines  of  the  tune  for  the  interludes.  Still, 
this  gives  an  opportunity  for  those  who  operate  on  the  highest- 
toned  instruments,  while  the  bass  are  sounding  their  simple  notes, 
to  trill,  slur,  slide,  and  add  an  innumerable  multitude  of  imagin- 
ary notes,  and  keep  up  a  continual  chase,  obliging  the  bass  instru- 
ments to  hold  on  the  last  note,  and  wait  for  their  arrival.  Such- 
like performances  have  a  tendency  to  call  forth  m:iny  compli- 
ments, such  as.  That  was  beautiful,  fine,  sweet,  capital,  —  words 
not  very  appropriate  to  apply  to  religious  services. 

But  the  most  attracting,  if  we  may  be  permitted  to  use  the 
expression,  was  where  there  were  four  fiddles^  and  no  other 
instruments.  These  took  the  place  of  an  organ,  and  went  through 
all  the  ceremonies  very  precisely.  The  effect  and  solemnity  we 
will  leave  for  some  one  to  describe  who  was  more  edified,  and  could 
appreciate  its  beauties  better  than  ourselves. 

PIIIVILEGE    OF    PLAYERS    ON    INSTRUMENTS. 

It  was  in  vain  to  make  any  objections  to  the  display  of  instru- 
ments ;  for  this  was  the  time  for  them  to  show  their  skill,  and  this 
was  their  only  inducement.  We  say  this  advisedly,  for  we  have 
known  many  instances  where  the  musicians  refused  to  play  at  all, 
unless  they  could  be  allowed  this  privilege. 


INSTRUMENTS  OF   MUSIC.  177 

HISTORY   OF   THE   ORGAN. 

As  the  organ,  through  all  ages,  has  had  a  name  more  conspicu- 
ous than  any  other  instrument,  it  deserves  more  than  a  passing 
notice.  It  is  of  great  antiquity.  An  instrument  of  the  same 
name,  whatever  might  have  been  its  construction,  was  used  in  the 
early  history  of  the  worship  of  God  in  his  earthly  temples. 

In  A.  D.  1d7,  we  have  an  account  that  Constantino  the  Great 
presented  an  organ  to  Pepin,  King  of  France. 

During  the  tenth  century  the  use  of  the  organ  became  general 
in  Germany,  Italy  and  England,  but  differed  materially  from  the 
organ  of  our  day.  A  description,  written  in  poetry,  is  given  by 
Wolsteii,  a  monk,  of  an  organ  in  the  cathedral  of  the  city  of  Win- 
chester, as  having  twenty-six  pairs  of  bellows,  requiring  seventy 
men  with  ceaseless  toil  to  blow,  closing  with  these  lines  : 

Of  which  four  hundred  pipes  in  order  rise, 
*  To  bellow  forth  the  blast  the  chest  provides. 

The  construction  of  the  organ  reached  great  perfection  in  the 
eighteenth  century,  and  the  eagerness  to  discover  new  combina- 
tions of  harmony  caused  a  neglect  of  melody,  which,  perhaps,  is 
somewhat  the  case,  at  the  present  day. 

FIRST    ORGAN    BUILT    IN    AMERICA. 

The  first  organ  made  in  this  country  was  by  Edward  Bromfield, 
of  Boston,  in  1745.  He  is  said  to  have  been  well  skilled  in  music, 
and,  for  exercise  and  recreation,  with  his  own  hands  made  a  most 
accurate  organ,  with  two  rows  of  keys,  but  died  before  completing 
it  in  full,  excelling  in  workmanship  anything  of  the  kind  brought 
from  England,  he  having  only  looked  into  one, two  or  three  times. 
He  was  born  in  Boston  1723,  entered  Harvard  College  1738,  died 
August  18th,  1746. 

THE    FIRST    AMERICAN    ORGAN. 

The  first  organ  used  in  New  England,  if  not  in  America,  was  in 
Boston,  in  what  was  then  called  Queen's  ChajKil,  at  the  corner  of 


178  INSTRUMENTS  OF   MUSIC. 

Tremout  and  School  streets.  It  was  imported  in  August,  1713, 
and  presented  by  Thomas  Brattle,  Esq.  It  is  said  that  the  preju- 
dice of  the  multitude  against  the  instrument  was  so  great  that  it 
stood  unpacked  in  the  porch  seven  months ;  but  was  finally  put  up 
and  used  (at  the  close  of  Queen  Anne's  reign,  the  chapel  took  the 
name  of  King's)  until  1756.  Then  it  was  sold  to  St.  Paul's  Church, 
Newburyport,  and  there  used  eighty  years.  In  1836  it  was  sold 
to  St.  John's  church,  Portsmouth,  N.  H.,  for  about  four  hundred 
and  fifty  dollars,  put  in  a  new  case,  and  has  been  used  ever  since. 

ITS   HISTORY. 

Its  historian,  in  the  Portsmouth  Journal,  says,  "  Could  it  give 
a  history  of  itself,  it  could  tell  of  the  events  of  the  reign  of  five 
kings  on  the  throne,  before  Victoria  ascended  it.  It  could  tell  you 
that,  when  it  commenced  its  notes  in  Boston,  but  one  newspaper 
was  published  in  the  colonies,  to  proclaim  its  arrival.  It  could 
tell  you  of  a  little  boy  who  came  to  listen  to  its  tones,  —  the 
same  that  afterwards  harnessed  the  lightning.  Also,  that  at  the  ago 
of  eighty-four  it  sounded  the  dirge  of  "Washington.  Sacred,  how- 
ever, to  the  holy  purpose  for  which  it  was  erected,  it  has  been  a 
looker-on,  not  a  participator,  in  the  events  of  the  world." 

ORGANS   ASTONISH   ALL. 

At  the  commencement  of  the  present  century,  there  were  but 
few  organs  in  the  country.  These  were  among  the  wonders  of  the 
age.  The  sound  of  this  instrument,  to  an  unaccustomed  ear,  was 
calculated  to  surprise,  astonish  and  delight,  all  who  had  souls  for 
music.  And  whenever  a  person  from  the  country  visited  Boston, 
when  he  returned,  one  of  the  first  questions  asked  him  was,  Did 
you  go  to  hear  the  organ  ?  And  if  his  answer  was  in  the  negative, 
he  was  considered  wanting  in  taste,  and  as  having  neglected  to 
examine  one  of  the  principal  curiosities  of  the  city. 

There  is  a  glorious  majesty  of  sound  with  which  an  organ  fills 
the  house  of  prayer.  JMartial  bravery,  love,  joy,  and  other  feel- 
ings of  nature,  liave  each  their  peculiar  instruments  of  sound  to 


INSTRUMENTS   OF    MUSIC.  179 

excite  them.  And  the  connection  between  religion  and  the  organ, 
when  properly  managed,  is  something  more  than  fanciful.  Twenty 
or  thirty  years  ago,  when  the  theory  and  practice  of  music  became 
a  subject  of  interest  in  this  country,  among  other  improvements  in 
church^  music,  the  use  of  the  organ  was  recommended.  The  prin- 
cipal objection  —  and  that  was  almost  universal  —  was  that  there 
was  too  much  noise  made  on  them,  as  they  had  been  heard. 

FORMER    OBJECTIONS    TO    ORGANS. 

This  was  conceded  by  its  advocates,  and  a  remedy  prescribed ; 
which  was,  to  make  use  of  small  organs,  and  those  played  lightly, 
just  to  accompany  the  voices,  never  to  be  made  conspicuous,  but 
moving  gently  along,  bearing  up  and  sustaining  the  vocal  parts. 
The  experiment  was  soon  commenced  in  Boston,  and  in  many 
towns  through  the  country,  and  the  doctrine  for  several  yeai-s 
adhered  to,  and  made  to  accommodate  the  mode  of  singing  intro- 
duced at  the  same  time,  which  was  of  such  a  peculiar  staccato 
style,  that  piano-players  had  very  little  change  to  make  in  their 
touch  of  the  keys.    ■ 

CHANGE   IN    PLAYING    IT. 

But  this  manner  of  suppressing,  or  keeping  back,  the  tones  and 
power  of  the  organ,  could  not  long  satisfy  the  taste  and  ambition  of 
organists ;  and  those  who  had  advocated  the  doctrine  of  soft  play- 
ing were  observed,  either  by  accident  or  design,  gradually  to  mark 
their  performance  with  crescendo,  from  Sabbath  to  Sabbath.  By 
and  by  all  restraint  was  thrown  aside,  and  the  struggle  was  for 
the  organ  of  the  greatest  power.  The  small  organs  were  set  aside 
to  make  room  for  thunder  tones,  still  more  and  more  powerful,  till 
an  organ  was  ivorthless  that  would  not  make  the  granite  walls  of  a 
church  tremble,  at  times,  when  used  in  full  strength.  And  many 
times  now,  when  the  doxology  is  sung,  at  the  close  of  worship,  we 
hear  such  a  crash  of  sound  on  the  organ,  that,  the  choir  and  the 
whole  congregation  joining,  could  no  more  make  words  intelli- 
gible, than  would  be  the  words  of  a  public  speaker  in  the  midst  of 


180  INSTRUMENTS   OF   MUSIC. 

roaring  artillery.     This  may  satisfy  those  who  are  more  pleased 
with  7ioise  than  sense. 

DIFFICULT y    OF    TROCURING    GOOD   ORGANISTS. 

When  the  rapid  introduction  of  organs  took  place,  it  was  not  so 
difl&cult  to  procure  the  organs  as  to  provide  competent  organists. 
It  was  represented  by  those  who  were  interested  that  any  one 
might,  in  a  short  time,  qualify  himself  to  play  plain  psalmody ; 
consequently,  young  ladies  and  gentlemen,  old  men  and  maidens, 
made  the  attempt.  But  it  was  found  not  to  be  the  work  of  a  day, 
or  a  month,  to  learn  to  manage  an  organ  so  as  to  satisfy  singers  or 
hearers.  Some  one,  perhaps,  would  attempt,  with  little  experience 
in  execution,  time  or  harmony,  the  singers  and  organist  hobbling 
along  in  sweet  confusion.  Complaints  are  made ;  the  organist  is 
mortified,  if  not  provoked  ;  stays  away  from  church, —  no  organist. 
The  waiting  eyes  and  ears  of  the  congregation  are  disappointed. 
The  chorister  perhaps  makes  use  of  the  organ  to  sound  a  single 
note,  for  the  key  of  the  tune  about  to  be  sung,  then  sings  on  faintly 
through  the  hymn.  There  stands  the  organ,  —  and  nothing  so 
great  a  damper  to  singers  and  hearers  as  the  presence  of  a  silent 
organ.  But  these  difiiculties  have  in  a  great  measure  been  over- 
come. Competent  organists  are  to  be  found,  so  far  as  execution  is 
concerned. 

ORGANS    AND    SINGERS   NOT    MOVING    TOGETHER. 

After  nearly  fifty  years'  confinement  to  choirs  on  the  Sabbath,  we 
have,  for  four  or  five  years  last  past,  had  an  opportunity  of  visit- 
ing many  different  churches  on  public  occasions,  sometimes  on  the 
Sabbath,  both  in  towns  and  cities,  and  have  heard  choirs  and  organ- 
ists of  every  degree  of  skill  perform.  We  are  aware  that  we  are 
not  qualified  to  criticize ;  and  hardly  dare  to  give  an  opinion,  much 
less  to  give  directions,  or  to  prescribe  remedies  for  what  seems  to 
us  erroneous.  One  thing  we  do  know,  —  that  there  is  a  marked 
dificrence  in  players  and  singers,  when  performing  together  or 
separate. 


INSTRUMENTS    OF   MUSIC.  181 

We  have  heard,  as  we  have  said  before,  many  organists  who 
seemed  to  carry  a  choir  gently  along,  bearing  them  up ;  and,  instead 
of  placing  the  crash  of  the  organ  before  the  voices,  and  obliging 
them  to  fight  their  way  not  ivith  but  after  them,  the  organ  lays  a 
Ibundation,  and  sustains  the  harmony,  and  even  seems  to  assist 
them  in  speaking  and  giving  expression  to  words  and  sentiment, 
altogether  making  a  solid  body  of  harmonious  and  devotional 
sound. 

The  same  cannot  be  said  in  all  cases.  In  some  instances  may  be 
heard  the  organ  distinctly  before  the  voices,  as  though  afraid  the 
singers  would  fail  to  sustain  themselves,  or  would  fail  in  each  suc- 
ceeding note ;  or  else  that  the  singers  are  destitute  of  power  or 
disposition  to  be  prompt.  Where  the  fault  lies  is  not  for  us  to  say ; 
but  the  fact  that  such  performances  are  to  be  heard,  we  have  no  fear 
will  be  contradicted. 

We  have  been  astonished  that  good  singers  and  hearers  —  judges 
of  music  —  should  be  drawn  so  imperceptibly  into  this  habit  that 
neither  are  aware  of  the  fact. 

ADVANTAGE  OF  HAVING  THE  ORGAN  MOVE  IN  ADVANCE. 

Perhaps  we  ought  to  mention  that  by  experience  we  have  found 
this  manner  of  performance  was  not  without  its  benefits,  which, 
perhaps,  may  compensate  for  all  the  clashing  of  feelings,  where 
the  organ  and  singers  move  in  separate  columns.  We  have  attend- 
ed churches  where  tunes  we  never  heard  before  were  sung,  and  soon 
perceived  that  we  could  sing  them  just  as  well  as  though  they  were 
perfectly  familiar ;  for  the  organ  gave  every  note  so  distinctly 
before  the  voices,  that  we  were  prepared  to  join  the  vocal  part 
when  the  words  were  spoken.  This  is  certainly  a  convenience ; 
but  whether  all  former  rules  of  harmonious  music  ought  to  be 
sacrificed  for  this  one  benefit  is  the  question.  At  any  rate,  to  be 
able  to  join  in  this  manner  is  the  only  way  one  can  be  recon- 
ciled. Still,  many  times  the  singing  and  playing  were,  in  their 
separate  capacity,  beautiful.  We  suppose  no  one  who  reads,  if 
he  believes,  will  either  justify  or  own  any  part  or  lot  in  the 
1(3 


182  INSTRUMENTS   OF   MUSIC. 

matter.  But,  as  we  have  before  said,  we  conceive  that  the  grand 
secret  and  excellence  of  a  leader  or  organist  is  to  possess  the  tal- 
ent and  power  of  carrying  the  choir  by  his  side,  not  dragging 
them. 

In  our  history  of  schools,  choirs,  &c.,  it  was  observed  that, 
according  to  our  hearing,  the  voices  were  not  always  prompt  with 
the  organ.  It  was  not  asserted  which  was  in  fault ;  we  only  related 
the  fact  as  belonging  to  the  history  of  church  music  near  the  mid- 
dle of  the  nineteenth  century,  and  leave  the  parties  concerned  to 
settle  the  variance  among  themselves,  if  true  ;  if  not,  then  it  will 
be  matter  of  record  hereafter  that  the  historian  of  Church  Music 
in  America  in  1852  was  mistaken. 

We  have  one  more  suggestion  to  make,  which  does  not  concern 
any  parties  in  the  musical  world,  but  is  a  matter  to  be  settled  T)y 
organists  between  their  right  and  left  hand,  when  at  variance,  — 
when  the  left  hand  is  suffered  rather  insultingly  to  make  every 
note  distinctly  before  the  right  hand  is  suffered  to  be  heard.  This 
may  or  may  not  happen  where  the  voices,  besides,  are  by  them- 
selves ;  but  when  it  does,  it  would  be  difficult  to  describe  in  words 
the  effect  produced.  All  this  may  be  said  to  be  the  work  of  im- 
agination ;  but  if  so,  —  not  considering  ourselves  competent  to 
judge  of  accompaniments,  —  suffice  it  for  us  to  say,  that  in  vocal 
music  alone  this  liobbling  of  one  part  after  another  would  be  pain- 
ful even  to  an  uncultivated  ear. 

INTERLUDES  AND  VOLUNTARIES. 

Since  the  introduction  of  the  bass-viol,  perhaps  nothing  has 
caused  so  much  speculation,  observation,  and  in  some  cases  un- 
pleasant feelings,  as  interludes  and  voluntaries.  This  arises,  per- 
haps, not  so  much  from  their  performance  as  their  abuse.  It  is, 
however,  asked,  and  easier  asked  than  answered,  What  is  their  use  ? 
If  we  could  always  hear  them  played  as  appropriately  as  we  do  in 
many  congregations,  loving  music  as  we  do,  we  should  not  hesitate 
to  give  a  decided  and  hearty  opinion  in  their  favor  ;  and  if  we  ex- 
press a  doubt  in  regard  to  their  expediency,  we  know  we  shall  be 


instrume^:t3  of  music.  183 

accused  of  bigotry,  wanting  in  taste,  &c.  But,  in  many  instances, 
we  would  rather  dispense  with  this  part  of  the  performance 
altogether,  however  pleasing  to  the  ear,  than  to  hear  the  uncouth, 
unmeaning,  disconnected  and  inapplicable  sounds  many  times  intro- 
duced by  players  on  instruments  and  organs.  For  instance,  when 
we  hear,  as  we  have,  voluntaries,  made  up  of  a  mixture  of  parts 
of  songs,  marches,  waltzes.  Sec, —  or  while  the  minister  and  con- 
gregation are  waiting,  to  hear  Hallelujah  Ciiorus  played  from  begin- 
ning to  end,  for  a  voluntary  and  interludes  more  unmeaning  and 
flighty  than  the  music  of  the  street  organ-grinder,  —  we  are  forced 
to  the  conclusion  that  much  of  the  time  spent  in  listening  to  this 
part  of —  I  was  going  to  say  public  worship,  —  but  I  can  only  say, 
this  part  of  the  ceremony  of  the  church,  will  be  recorded  as  time 
lost. 

INSTRUMENTS    ATTEMPT    TO    IMITATE    TUE   ORGAN. 

As  formerly  the  organ  was  taken  as  a  pattern  for  all  instruments, 
it  gave  an  excellent  opportunity  and  excuse  for  players  on  instru- 
ments to  display  their  skill ;  and  we  do  not  hesitate  to  say  that  we 
have  heard  even  instruments  of  different  kinds  united,  and  the 
time,  tone  and  manner,  so  executed  as  to  give  a  surprisingly  pleas- 
ing and  solemn  effect.  But  far  otherwise  when  we  have  seen  a 
host  of  players  from  the  martial  band  with  all  their  instruments, 
calculated  by  their  triumphant  blast  to  animate  the  soldier  on  his 
way  to  the  training  or  battle-field,  and  the  taste  of  the  players 
never  softened  below  the  animated  marches  of  the  day.  When  we 
see  these  come  into  the  church,  and  commence  accompanying  the 
solemn  or  pathetic  strains  of  church  music,  and  add  their  introduc- 
tions and  interludes,  according  to  their  training  and  manner  of 
playing,  we  tremble  for  the  cause  of  devotion. 


CHAPTER    XIV. 

SOCIETIES,   ACADEMES,   CONVENTIONS  AND  CONCERTS. 

Our  Fathers'  Meetings  for  Singing.  —  Billings'  Concerts,  by  Schools  and  Socie- 
ties. —  Other  Teachers  followed  his  Example.  —  Choirs  formed  into  Societies. 
—  Pecuniary  Concerns.  —  Want  of  Patronage.  —  Deception.  —  Particulars 
of  N.  II.  Musical  Society.  —  Instruments  in  those  Days.  —  Handel  and 
Haydn  Society.  —  Billings  andllolden  Society  and  others.  —  Conventions. — 
Object  of  Conventions.  —  Effect  of  Secular  Music  with  Sacred.  —  Concerts  of 
Sacred  and  Secular  Music.  — Advertisements  for  Concerts.  — A  Dialogue.  — 
Good  Accomplished. 

OUR  fathers'  meetings  for  singing. 
We  find,  in  the  history  of  music  of  the  eighteenth  century,  that 
there  were  occasional  meetings  for  the  practice  of  sacred  music ; 
but  how  extensive,  how  managed,  and  whether  called  schools,  or 
societies,  or  associations,  or  even  by  any  name,  we  have  no  inform- 
ation ;  but  we  presume  they  were  merely  for  mutual  benefit  and 
gratification,  and  probably  would  no  more  compare  with  the  schools 
and  societies  of  the  present  day,  than  the  musical  instruments  in 
scripture  times  would  compare  with  instruments  of  the  same  name 
in  1850. 

CONCERTS    BY    SCHOOLS    AND   SOCIETIES. 

The  new  style  of  music,  introduced  by  Billings',  created  such  an 
excitement,  that  all  who  had  a  natural  talent  for  music  enlisted  in 
the  cause  ;  and  the  desire  of  the  remainder  to  hear  was  no  less 
universal. 

Mention  has  been  made  of  the  crowds  that  flocked  to  hear  his 


SOCIETIES,    ACADEMIES,    CON^N'flbxS    AND    CONCERTS.        185 

schools  and  concerts.  These  exhibitions  we  know  wore  thronged  : 
but  how  well  they  were  patronized,  in  a  pecuniary  point  of  view,  we 
have  not  been  able  to  learn.  It  is,  however,  ascertained  that  the 
secret  of  selling  tickets  had  not  then  been  learned,  but  contributions 
were  depended  on  ;  and  we  may  safely  calculate  that,  unless  a  mixed 
multitude  of  hearers  were  more  liberal  than  they  are  at  the  pres- 
ent day,  Billings  was  never  made  rich  by  his  concerts,  —  at  any 
rate,  he  lived  and  died  a  poor  man. 


OTHER    TEACHERS    FOLLOWED    HIS    EXAMPLE. 

Ne^  teachers  sprang  up  and  followed  his  example,  in  differeul 
part?  of  *^w  England  ;  and  the  same  practice  prevailed^f  exhibit- 
ing their  [^ainments  and  skill,  for  the  gratification  of  themselves 
and  the  public. 

Although  there  were  several  regular  societies  known  to  have 
been  formed  about  the  comm^ement  of  the  present  century,  some 
of  them  for  the  practice  of  a  specJWm  music  diflferent  from  that 
which  had  been  manufactwed  in   the  mill  of  Billinirs  k  Co.,  still  ^ 
there  was  none  that  took  a  decided  and  prominent  stand  till  about, 
the  time  of  the  establishment  of  the  Salem  and  Middlesex  Societies^ 

From  personal  knowledge,  we  l^jive  reason  to  believe  that  the 
professed  object  of  these  jaat-mentioned  soci(  tics  was  to  introduce 
music  of  as  high  order  as  could  be  obtained  at  that  time,  and  that 
they  exerted  themselves  to  the  utmost,  to  eflfect  tlieir  purpose.  But 
they  were  prevented  from  carr^'mgout  the  exhibition  of  its  merits, 
by  the  want  of  experience,  skill,  means  and  numbers;  for  these 
societies  were  formed  principally  by  those ^wlio  were  what  might 
be  called  old  singers  ;  an4  other  genen^ons  had  sprung  up,  a  ma- 
jority of  which,  as  a  whole,  took  no  ^vi  nor  lot  in  the  reform. 
Therefore  it  was  jit  first  with  some^  difficulty  that  sufficient  num- 


w 


bers  and  strength  of  voice  Sh\\d  be  obtained  for  expression  au( 

)ns,  puj 

and  have  ha^ia  p<^erful  influence  on^usic  in  America.'^^K 


and 
execution  suah  as   they  aspired  ^fUr,    l^t  their  exertions,  pufPT 

iiidii 


addresses  and  performances,  laid  a  fouiidation  for  after 
0eri 
16* 


186        SOCIETIES,   ACADEM^,   CONVENTIONS  AND  CONCERTS 


CHOIRS   FORMED   INTO   SOCIETIES. 

Singers  of  a  single  church  and  congregation  soon  began  to 
form  themselves  into  regular  societies,  assuming  some  title  signif- 
icant of  their  object,  —  generally  selecting  the  name  of  some  great 
author,  such  as  Handel,  Ilaydn,  Mozart,  or  Lockhart.  The  most 
limited  of  these  societies  must  have  rules  and  regulations,  leaders 
and  officers.  Many  times,  legal  and  ecclesiastical  aid  was  called 
in,  to  make  every  article  according  to  the  rules  of  law  and  order. 
And  with  their  constitution  in  hand,  signed  by  those  who  were  con- 
sidered worthy  and  well  qualified,  they  wenf  to  work  systemat- 
ically. For  a  considerable  time  all  would  probably  ^ool#  fair 
and  prosperous ;  but,  after  all  this  formality,  they  were  no  better 
singers  than  before.  Fhies,  for  neglect,  were  established  by  their 
by-laws.  Soon,  some  would  be  reported  as  transgressors  of  some 
article  of  the  constitution.  A  discussion  ensues ;  time  intended 
for  practice  is  consumed, — -so  that,  witli  a  constitution  well  offi- 
cered and  manned,  ringing,  the  main  otgect,  was  too  often  neglected, 
and  the  time  mostly  occupied  by  those  who  were  anxious  to  dis-  • 
play  their  talent  ibr  debating.  So  that  experience  has  taught 
those  concerned  in  singing,  that  unless  members  will  do  all  in  their 
power,  voluntarily  nnd  cheerfully,  to  promote  the  interest  of 
church  music  in  a  choir  or  society,  no  written  rules  will  compel 
them ,  and  that  no  form,  ceremony  or  name,  will  make  singers 
better,  without  practice  ;  so  th^the  fewer  the  rules  and  regula- 
tions,.to  bind  singing  men  and  women  to  do  that  which  it  is  their 

duty' to  do,  without  constraint,  the  better. 

t 

SMALL   SOClETlUr  TRIBUTARY   TO    LARGE   ONES. 

These  provincial  singing  societies  and  exhibitions  have  been  but 
as  tributary  streams  to  supply  some  great  central  fountains,  such 
*«s  the  Handel  and  Haydn  Society,  in  Boston,  the^acred  Music 
Society,  in  New  York,  *c.  T^ie  small  beginjlings,  such  as  the 
Middlesex  and  Salem  Societies ;  tlie  Ilublmrd  Society,  at  Dart- 
mouth College ;  the  Lockhart,  at  Andover  ;  the  New  Hampshire 


V 


SOCIETIES,    ACADEMIES,    CONVENTIONS   AND    CONCERTS.        187 

Musical  Society,  and  hundreds  of  others,  have  had  their  day  of 
action,  and  their  influence.  They  have  effected  their  object,  and 
most  of  them  have  cRfesolved  their  (<  iincrtiun  and  name.  The  same 
exertions  and.  the  same  results  have  been  spreading^  further  back 
through  the  country,  from  year  to  year ;  and  in  some  parts  of  the 
land  the  same  scenes  are  now  being  acted  which  were  familiar  in 
New  England  thirty  or  forty  years  ago. 

PECUNIARY   CONCERNS. 

It  if  woifl^  of  remark  where  societies  have  been  formed  on  a 
somet^hat  extensive  scale,  embracing  the  singers  of  different 
choirs  and  associations,  with  or  without  an  act  of  incorporation  to 
protect  the  property  held  in  common,  such  as  books,  instruments, 
funds,  (fee,  that  when  they  came  to  close  the  concern,  with  a  very 
few  exceptions,  they  have  found  themselves  minus  funds,  minus 
books,  and  minus  members  to  pay  arrearages.  Of  this  fact  the^ 
writer  has  had  an  opportunity  of  knowing,  having  had  the  honor  of 
presiding  over  twenty -one  regularly  organized  and  constitutional- 
ized  societies.  IF. 

WANT    OF    PATRONAGE.  # 

Through  New  England,  hearers  and  spectators  of  every  descrip- 
tion were  not  wanting  at  rehearsals,  who  would  talk  kindly,  extol 
the  exertions  to  improve  sacred  music,  and  when  an  exhibition 
was  about  to  take  place  wish  tiiem  prosperity  ;  but  when  the  con- 
tribution box,  or  tickets,  were  presented,  they  had  too  much  of  the 
spirit  of  "  Be  ye  warmed,  and  be  ye  clothed,"  at  heart,  to  afford 
any  substantial  aid. 

DECEPTION. 

It  has  been  ascertained  that  in  some  instances,  — fevj,  I  will 
say,  — members  of  soci^es,  after  meeting  with  the  society  to  prac- 
tise or  rehearse%nmediately  before  a  public  exhibition,  having 
received  a  ticket  as  member,  and  two  or  three  others  to  pass  their 
friends,  have  sold  them  all,  and  gone  their  way. 


• 


188        SOCIETIES,    ACADEMIES,    CONVENTIONS    AND    CONCERTS. 

At  Other  times,  it  would  be  found  that  there  was  a  full  house, 
and  H&t  little  money  taken  ;  when,  on  investigation,  it  was  ascer- 
tained that  the  printer's  boys  had  made  use  of  me  types,  and  printed 
and  sold  tickets  at  a  reduced  price,  on  their  own  aocQunt.  There- 
fore, there  was  nothing  to  console  members,  after  all  efforts,  but  the 
hope  that  good  had  been  done. 

r  ?i||^TICULARS'  OF   THE   N.  H.    MUSICAL   SOCIETY. 

"We  have  alluded  to  the  New  Hampshire  Musical  Society,  formed 
not  many  years  after  the  jMiddlesex  and  Salem,  whiK  (Jgserves  a 
passing  notice ;  more  especially,  as  some  of  the  incidents  attending 
its  operations  will  apply  to  almost  all  societies  or  musical  associa- 
tions that  existed  at  the  time.  This  society  embraced  the  whole 
state,  or  rather  the  principal  singers  in  the  state  were  invited  to 
unite  their  influence  and  labors,  in  order  that  they  might  excite  a 
general  interest  in  church  music.  As  many  of  its  members  had  to 
travel  a  great  distance,  the  society  continued  in  session  .two  or 
three  days ;  all  but  the  last  of  which  were  devoted  to  rehearsing, 
in  preparation  for  singing  in  public.  After  meeting  once  a  year, 
for  some  ten  or  twelve  years,  in  different  parts  of  the  state,  prac- 
tising and  publicly  rehearsing,  with  apparent  success,  the  society 
dissolved,  by  mutual  consent,  having  accomplished  all  it  ever 
expected. 

INSTRUMENTS   IN    THOSE    DAYS. 

While  this  society  was  in  ojxjration,  organs  had  not  yet  visited 
that  state,  except  one  or  two  in  or  near  Portsmouth.  The  society, 
therefore,  at  their  exhibitions,  was  under  the  necessity  of  calling 
in  the  aid  of  such  instruments  as  were  then  extant,  such  as  the 
flute,  clarinet,  violin,  bass-viol,  bassoon  and  double-bass.  The  latter 
instrument  was  not  in  use  till  near  the  close  of  the  meetings  of  the 
society.  And  not  only  may  the  scarcity  af  tlie  instrument,  but  the 
perseverance  of  some  worthy  men  and  membere  to  promote  the 
cause,  be  judged  of,  when  we  say  that  Dr.  ]l.  D.  Mussey,  then  med- 
ical professor  of  Dartmouth  College,  —  now  professor  at  Cincin- 


SOCIETIES,   ACADEMIES,    CONVENTIONS   AND   CONCERTS.        18© 

nati,  Ohio,  —  {assessing  a  double-bass  viol,  and  skill  to  perform  on 
it,  to  accounnodatc  and  gratify  the  society  and  the  public,  conveyed, 
or  caused  to  be  conveyed,  this  cumbrous  instrument,  through  the 
state,  from  his  residence,  at  Hanover,  on  Connecticut  river,  to 
Portsmouth,  on  the  sea-shore. 

U  AN  DEL   AND   HAYDN    SOCIETY. 

The  Handel  and  Haydn  Society  was  established  in  Boston  about 
forty  years  ago,  —  the  first  society  in  America  formed  on  a  broad 
scale. 

Although  its  beginnings  were  comparatively  small,  it  was,  not- 
withstanding, for  many  years  the  "  wonder  of  the  nation  ;  "  and  all 
the  lovers  of  music,  at  home  and  abroad,  when  opportunity  pre- 
sented, resorted  to  their  concerts,  as  the  climax  of  musical  per- 
formance. In  this  society  was  the  grand  concentration  of  the 
musical  talent,  not  only  of  Boston,  but  for  twenty  miles  around. 
It  was  a  glorious  era  to  the  lovers  of  harmony.  Such  was  the 
excitement  of  the  hearers  and  enthusiasm  of  the  performers,  that 
there  is  nothing  to  compare  with  it  at  the  present  day.  It  is  not 
pretended  that  the  execution  would  compare  with  what,  we  now 
hear;  but  it  wjls  far  superior  to  anything  of  the  kind  in  those 
days;  and,  however  simple  the  music,  compared  with  that  per- 
formed by  the  society  for  some  years  past,  still  the  contrast  between 
performances  of  the  society  in  that  day,  and  those  of  churches  and 
other  societies,  was  far  greater  than  is  now  heard.  This  society 
was  the  grand  fountain  into  which  all  other  minor  societies  flowed ; 
and  the  spirit  whicli  was  there  imbibed  spread  through  the  land, 
and,  although  other  societies  and  associations  have  sprung  up  since, 
and  done  well,  this  ancient  and  honorable  society  has  held,  and  still 
holds,  a  prominent  name  and  place  among  the  musical  institutions 
of  the  country. 

Its  first  prominent  meetings  were  held  in  Boylston  Hall,  over 
Boylston  Market,  which  was  then  one  of  the  largest  in  Boston. 
Afterwards  the  Melodeon  was  fitted  to  accommodate  them,  and 
haa  been  occupied  ever  since.     Soon  after   its  establishment,  it 


190        SOCIETIES,    ACADEMIES,    CONVENTIONS   AND   CONCERTS. 

was  found  to  be  necessary  for  them  to  select  and  publish  music  for 
theii"  accommodation.  The  "  Old  Colony  Collection,"  first  and 
second  volumes,  was  printed,  and  afterwards  other  collections  of 
anthems,  oratorios,  &c.  It  would  be  pleasing,  would  our  limits 
permit,  to  give  a  more  particular  history  of  its  doings ;  but  we  for- 
bear, knowing  that  many  similar  societies,  that  have  since  sprung 
up  in  different  parts  of  the  country,  deserve  similar  praise  and 
notice  for  their  exertions  to  promote  sacred  music.  We  there- 
fore must  be  satisfied  with  giving  the  names  of  those  who  have 
taken  a  prominent  part  in  its  movements,  and  acted  as  Presidents 
of  the  society,  namely.  Col.  Webb,  A.  AVinchester,  Holt,  Roger- 
son,  L.  Mason,  C.  Zeuner,  B.  Brown,  S.  Bichardson,  C.  Lovett, 
J.  Chickering,  J.  Bigclow,  and  the  present  year,  Meriam.  Of 
the  original  members,  a  great  proportion  have  passed  from  the  stage 
of  life,  and  but  here  and  there  one  is  seen  in  their  ranks.  It  may 
well  be  styled  the  father  of  sacred  music  societies,  and  has  outlived 
most  of  its  descendants. 

BILLINGS    AND    HOLDEN    SOCIETY. 

We  ought  not,  perhaps,  to  omit  mentioning  that,  some  ten  or 
twelve  years  ago,  many  respectable  singers  and  musicians,  partly 
for  amusement,  and  partly  for  the  purpose  of  reviving  old  asso- 
ciations, and  giving  an  opportunity  for  the  curious,  who  had  a 
desire  to  hear  the  tunes  sung  by  their  fathers  and  mothers,  of 
which  they  had  heard  so  much,  and  others,  who  really  preferred 
them,  formed  a  society,  in  Boston,  by  the  name  of  the  "  Billings 
and  JJoldcn.  Society,"  and  confined  themselves  principally  to 
the  music  of  Billings  and  those  that  followed  him.  They  went  on 
prosperously  for  a  number  of  years,  to  the  edification  of  some,  and 
the  amusement  of  others.  They  published  a  collection  of  music, 
much  of  it  of  American  production  in  the  eighteenth  century, 
with  many  good  compositions  interspersed.  It  was,  on  the  whole, 
a  useful  book.  Other  societies  have  been  organized  in  Boston, 
similar  to  that  of  the  Handel  and  Haydn,  —  perhaps  equally  re- 


SOCIETIES,    ACADEMIES,   CONVENTIONS   AND   CONCERTS.        191 

spcctable  in  talent,  if  less  in  numbers,  —  such  as  the  Beethoven 
Society,  Musical  Fund  Society,  Musical  Education  Society. 

In  Salem,  a  society  by  the  name  of  the  Mozart  Society  has 
been  creditably  sustained  for  nearly  thirty  years ;  in  Cambridge, 
Andover,  Hartford,  New  Haven,  Conn.,  Hanover,  N.  H.  In  New 
York,  many,  besides  the  Sacred  Music  Society.  All  these  have 
exerted  a  favorable  influence  in  the  musical  community.  All  have 
had  more  or  fewer  public  exhibitions,  to  gratify  themselves  and 
the  public. 

COMrETITION. 

Academies,  societies  and  conventions,  have  been  multiplied ;  and 
at  the  same  time  worthy  and  well-qualified  professors  have  been 
found  to  conduct  them.  There  has  been  a  struggling  for  mastery 
by  different  professors,  not  to  say  competitors ;  so  that,  at  times, 
they  seemed  in  danger  of  clashing  with  each  other.  These 
waves  of  opiX)sitioif,  although  they  sometimes  rose  high,  had 
a  tendency  to  keep  all  hands  on  deck  at  work,  till  the  storm  has 
subsided,  and  all  have  improved  by  the  exercise. 

CONVENTIONS. 

Since  the  Boston  Academy  was  established,  the  efforts  and  com- 
binations of  the  lovers  of  music  have  assumed  a  different  name,  and 
somewhat  of  a  different  character.  Instead  of  society,  the  name  con- 
vention is  applied.  Instead  of  being  composed  of  members  who 
have  been  admitted  by  election,  on  the  possession  of  certain  qualifi- 
cations, who  elected  their  own  officers  and  leaders,  certain  distin- 
guished professors  have  been  the  sole  managers,  have  assumed  the 
whole  responsibility,  and  have  invited  everybody  to  join.  Other 
conventions  have  been  formed  in  Boston,  besides  the  Academy, 
heretofore  known  as  Baker  &  Woodbury's,  Johnson  and  others, 
and,  the  present  year,  Johnson  &  Baker.  The  professors  of  all 
these,  and  other  similar  institutions,  have,  for  several  years  past, 
been  called  to  meet  conventions  of  musical  amateurs,  in  many  of 
the  principal  towns  and  cities  in  the  Northern  and  Western  States, 
which  have  been  attended  with  much  interest,  —  much  musical 


192        SOCIETIES,   ACADEMIES,    CON^^^TK 

talent  being  developed  and  improved.  Churches  and  congregations 
interested  in  the  promotion  of  church  music,  seeing  the  good 
effects  of  these  meetings,  lend  their  aid  and  influence  in  the  cause. 

OBJECT    OF    CONVENTIONS. 

The  proposed  object  of  these  conventions  has  been  the  improve- 
ment of  sacred  music.  But  the  practice  of  secular  music  has  been 
made  a  part  of  the  exercises.  The  propriety  of  this  introduction  of 
secular  music  has  become  a  question  among  those  who  Jiave  the 
interests  of  sacred  music  most  at  heart.  To  give  due  exercise  to 
the  voice,  and  make  a  finished  singer,  all  kinds  of  music  and  mu- 
sical exercises  are  necessary ;  and,  so  far,  secular  music  becomes 
almost  indispensable.  To  vary  the  exercises  of  a  long  session,  so 
as  to  avoid  weariness  and  listlessness,  is  also  a  matter  of  no  small 
importance. 

EFFECT    OF    SECULAR    MUSIC    MIXED    WITH  SACKED. 

But  we  have  watched  with  peculiar  solicitude,  at  these  conven- 
tions, when  the  books  lie  promiscuously  together,  and  are  used 
alternately  every  few  hours,  to  see  the  longing  eyes  and  evidently 
itching  ears  of  a  majority,  to  use  the  book  that  has  written  on  the 
outside,  "  Songs,  Ducts,  Madrigals,  &c.,"  and  take  them  up  with 
cheerful  countenance,  while  those  marked  "  Church  Music"  will 
be  moved  by  the  same  hands  slowly,  and  sung  apparently  with  little 
interest.  This  would  sometimes  raise  a  doubt  as  to  the  judicious- 
ness of  the  course. 

But  all  this  could  be  easily  acquiesced  in,  did  the  result  stop  here. 
May  it  not  be  the  case  that  teachers  go  out  from  the  conventions 
into  the  country  for  the  purpose  of  teaching  sacred  nmsic  for  the 
benefit  of  a  church  ?  They  introduce  the  same  exercises,  having 
the  best  authority  for  so  doing ;  and  the  object  of  the  school,  in 
many  insUinces,  becomes  in  a  groat  measure  perverted. 

CONCERTS  OF  SACRED  AND  SECULAR  MUSIC. 

The  end  is  not  yet,  —  concerts  or  exhibitions,  by  schools  and 
societies,  are  now  rarely  performed  without  the  use  of  some  words 


BOCIETIKS,    ACADEMIES,    CONVENTIONS    AND    CONCEIITS.        103 

or  masic  that  were  never  intended  to  be  rehearsed  in  a  house  con- 
secrated to  the  service  of  God.  Within  a  few  years  past,  travel- 
ling companies,  clubs  or  families,  have  almost  superseded  all  other 
l)ublic  exhibitions  of  music.  With  some  name  attached,  they  pro- 
claim themselves  in  large  letters,  so  that  the  first  object  that 
attracts  the  eye  of  a  traveller,  as  he  enters  a  town,  village  or  city, 
is  a  placard,  in  large  letters,  pa.stcd  on  every  post,  fence  and  door, 
giving  notice  of  these  wonderful  performances,  suited  to  the  tastes 
of  all  classes  in  society. 

ADVERTISEMENTS    OF    CONCERTS, 

Advertisements  may  bo  seen,  announcing  "  Sacred  Concert," 
"  Concert  of  Sacred  and  Secular  Music,"  "  Secular  Music, —  Songs, 
Duets,  Quartets  and  Choruses,  —  Indian  and.  Negro  Songs,"  to 
be  performed  by  some  select  company  or  family. 

Many  of  tlicse  concerts  consist  of  music  chaste  and  worthy  of 
l)atronage ;  others,  by  good  and  superior  execution  and  harmony, 
are  pleasiint  to  the  ear.  Some,  astonishing  and  amusing  ;  others, 
the  singing,  talking,  and  acting  of  negro  to  the  life,  —  the  more 
comical  the  better  patronized ;  and  if  it  be  true  that  the  character  of 
a  nation  is  formed  or  known  by  the  popular  songs  of  the  day,  what 
would  be  the  established  character  of  America  ? 

Although  our  principal  object  is  to  treat  of  sacred  music,  still, 
wo  are  obliged  to  step  aside,  now  and  then,  and  notice  other  kinds 
of  music  that  come  in  contact  with  our  subject;  and  our  allusion 
to  them  is  not  to  object  to  the  practice  of  any  of  the  concerts 
mentioned,  ibr  the  listening  to  many,  or  all  of  them,  to  say  the 
least,  is  innocent  amusement ;  and,  as  there  is  a  time  to  laugh 
and  a  time  to  cry,  we  know  of  no  more  feasi])le  way  than  to  attend 
f^omc  of  the  poi)iilar  concerts  to  accomplish  botii.  liut  when 
sacred,  secular  and  nonsensiwil  nmsic  are  mixed  together,  we  hesi- 
tate. We  cannot  see  the  dill'crcncc,  so  lar  as  propriety  is  con- 
cerned, between  a  notice  of  a  concert  of  sacred  and  secular  music, 
and  one  for  a  meeting  for  prayer  and  a  political  caucus. 
17 


194        SOCIETIES,    ACADEMIES,    CONVENTIONS   AND   CONCERTS. 
DIALOGUE. 

When  seeing  and  hearing  these  performances  so  prevalent,  tho 
reflection  crosses  the  mind,  What  would  a  Handel,  or  a  Haydn,  or 
any  of  the  great  masters,  think,  were  they  permitted  to  revisit  the 
earth  ?  He  would  have  a  right  to  expect  that  music  of  a  sublime 
character,  such  as  he  left,  would  now  be  practised ;  and  that  the 
spirit  of  music  had  moved  onward,  and  that  his  ears  would  be  de- 
lighted, his  soul  ravished,  by  the  glorious  strains  of  anthems  and 
oratorios  of  those  that  followed  him. 

Suppose  him  to  inquire  of  some  one,  whose  feelings  and  voice  had 
never  been  trained  to  music  and  words  like  "  I  know  that  my  Re- 
deemer liveth,"  —  we  are  naturally  led,  in  imagination,  to  con- 
ceive a  dialogue  something  like  the  following  :  — 

Visitor.  —  Friend,  my  stay  must  be  short ;  can  you  direct  me 
where  I  can  hear  some  of  your  best  modern  music  performed  ? 

Atiswer.  — We  have  sacred  music  of  the  highest  order,  published 
from  year  to  year ;  but  it  is  not  so  well  patronized  as  music  of  a 
lighter  character,  at  the  present  day ;  of  course,  it  is  not  so  easy 
to  collect  a  company  to  perform  it. 

Visitor.  —  {higiiires  with  earnestness.)  —  Can  I  have  the 
privilege  of  hearing  some  of  the  late  publications,  written  since  my 
exit? 

Answer.  —  I  could  easily  collect  a  company  of  singers  to  per- 
form some  of  the  popular  music  of  the  day. 

Visitor.  —  Can  I  hear  an  organ  ? 

A?isiver.  — Well,  the  music  to  which  I  allude  docs  not  require 
an  organ  to  accompany  it ;  a  pianoforte,  or  some  liglit  instruments, 
answer  all  the  purposes,  —  and,  in  some  instances,  no  accompani- 
ment is  necessary  to  give  effect ;  nothing  more,  indeed,  than  a 
couple  of  dry  bones,  to  rattle  between  the  fingers. 

With  this  answer,  we  feel  assured  his  stay  would  be  short. 

GOOD   ACCOMPLISHED. 

Of  the  advantages  derived  from  these  musical  associations,  no  one 
can  form  an  estimate.     By  their  meetings  and  exercises  they  have 


SOCLETIES,    ACADEMIES,    CONVENTIONS   AND   CONCERTS.         195 

given  a  general  impulse  to  the  cause  of  sacred  music,  which  no  one 
that  has  witnessed  their  progress  will  deny.  Many  who  before 
were  indifferent  to  its  benefits  or  charms  have  been  induced  to  ap- 
ply themselves  to  the  theory  and  practice  of  music,  both  vocal  and 
instrumental,  who,  had  not  such  means  been  employed,  would  have 
been  ignorant  of  both  to  the  present  day.  Also,  from  the  habit 
of  singing  with  restrained,  unmeaning  tones,  by  the  attention  that 
has  been  given  to  the  cultivation  of  the  voice,  talents  and  voices 
have  been  developed  which  would  otherwise  have  remained  dor- 
mant. Besides,  by  the  private  and  public  practice  of  individuals, 
and  in  consequence  of  the  general  knowledge  attained  of  music 
and  its  application  to  words,  they  have  become  not  only  mas- 
ters of  sounds,  but  of  their  own  feelings,  when  attempting  to 
exhibit  music  in  its  true  light ;  so  that  solos  and  duets  are  now 
sung  without  hesitation  by  single  voices,  without  fear  of  failure, 
either  by  the  performer  or  hearer.  It  has  been  mentioned  that 
teachers  of  sacred  music  were  few,  and  not  all  of  these  few  possess- 
ing unexceptionable  character.  Not  so  at  the  present  time.  These 
institutions  have  caused  a  multitude  of  young  men  and  women  to 
qualify  themselves  to  teach  others ;  so  that  in  New  England  alone 
may  be  found  a  sufficient  number  of  reputable  and  well-qualified 
persons,  if  they  choose  to  enlist  in  the  service,  to  supply  the  wants 
of  the  whole  country.  At  the  time  aforementioned,  scarcely 
a  native  American  could  be  found  who  knew,  or  pretended  to 
know,  anything  of  the  laws  of  harmony  in  music;  but  now, 
through  these  instrumentalities,  or  from  personal  application,  or 
both,  we  find  those  on  every  side  so  well  versed  in  the  science  of 
music  as  not  only  to  be  judges  of  its  correctness,  but  able  to  write 
music  also,  much  of  which  will  compare  favorably  with  tunes  of 
the  same  character  in  Europe.  If  the  same  spirit  of  improvement 
continues  to  prevail,  for  thirty  years  to  come,  as  during  the  thirty 
years  last  past,  grand  and  sublime  anthems,  masses  and  oratorios, 
may  be  expected  from  the  pens  and  imaginations  of  Americans. 


CHAPTER  XV. 
CHURCHES,   MINISTERS  AND   CONGREGATIONS. 

Music  in  Churches  improved. — Inattention  of  Congregations  to  Singing. — 
Worshipping  God  by  Proxy.  —  Foreigner's  Visit  to  an  American  Church.  — 
Reasons  for  hiring  Theatrical  Singers.  — Reasons  for  the  Young  undervalu- 
ing Singing  in  the  Church.  —  Errors  of  Clergymen.  — Complaints  and  Per- 
plexities. —  Ministers'  Connection  with  Singers.  —  Inappropriate  Words.  — 
Attitude  in  Singing.  —  Likes  and  Dislikes  of  Hearers.  —  Complaints  about 
the  Manner  of  Singing.  —  Of  the  Tunes  sung.  —  Of  Chants  and  Anthems. — 
Of  Expression  in  Words  and  Music.  —  Of  Organists.  —  Promiscuous  Singing 
in  Congregations. 

MUSIC    IN   CHURCHES   IMPROVED. 

From  the  landing  of  the  Pilgrims  until  near  the  period  of  the 
American  Revolution,  that  part  of  public  worship  called  singing 
was  in  the  hands  and  under  the  control  of  the  church,  and  treated 
as  a  solemn  act  of  worship.  Tunes  and  performers  then  assumed 
an  entirely  different  character.  The  apparent  causes  of  the  change 
have  been  mentioned,  together  with  the  struggles  of  the  few 
against  the  many,  until  the  restoration  of  music,  as  an  act  of  wor- 
ship, so  far,  at  least,  as  external  appearance  is  concerned. 

INATTENTION   OF   CONGREGATIONS   TO    SINGING. 

But,  in  many  assemblies  for  religious  worship,  though  there  may 
be  a  death-like  stillness  while  prayer  is  offered,  so  soon  as  singing 
commenced,  although  accompanied  with  the  most  solemn  words, — 
how  is  the  scene  changed !  All  restraint,  cither  as  to  attitude 
or  demeanor,  is  at  an  end  ;  and,  as  you  cast  your  eye  around 
on  the  congregation,  all  is  listlessness. 

If  singing  is  a  part  of  worship,  the  inquiry  naturally  arises, 
Why  is  not  the  same  interest  taken  by  the  friends  of  religion  to 


CIIURCHES,    MINISTERS   AND   CONGREGATIONS.  197 

sustain  it,  as  there  is  in  the  exercises  of  prayer  and  preaching  ? 
We  have  waited  a  long  life  for  an  answer  to  this  question,  but  it 
has  not  yet  been  given. 

AVe  cannot  but  think  that  great  and  solemn  must  be  the  account 
which  many  individuals  must  give  in  regard  to  this  part  of  public 
worship.  How  often  does  what  is  called  .sacred  music  evidently 
administer  only  to  the  vanity  of  the  performer,  and  gratification 
of  the  hearer,  even  at  the  present  day  ! 

QUAKERS    LESS   GUILTY. 

The  idea  frequently  suggests  itself,  whether  the  Quakers  are 
not  much  more  consistent,  in  meditating  the  praises  of  God,  than 
those  who  with  voices  make  a  loud  noise,  sometimes  evidently  to 
feed  their  pride.  Well  may  we  shrink  from  the  comparison.  And, 
if  the  doctrine  be  true,  that  all  are  capable  of  preparing  themselves 
to  join  and  assist  in  this  part  of  worship,  how  can  we  delegate  to 
others  the  act  of  praising  God? 

WORSHIPPING    GOD   BY   PROXY. 

Can  we  worship  God  by  proxy  ?  We  have  reason  to  fear  that 
the  reply,  made  by  a  good  man,  who  asked  a  professional  gentle- 
man whether  he  heard  the  extraordinary  preacher  the  Sabbath 
previous,  will  apply  to  many.  The  gentleman  said  he  did  not 
attend  to  hear  him  himself,  but  he  always  sent  his  wife  to  church, 
and  in  that  way  worshipped  by  proxy.  "  Yes,"  answered  the  good 
man,  "  and  in  that  way,  if  any,  you  will  probably  go  to  heaven." 

We  find  it  difficult  to  present  this  subject  in  any  form,  without 
touching  some  tender,  and  perhaps  forbidden,  spot.  Our  hojM)  is, 
that  whatever  we  may  be  led  to  say  from  experience  or  observation 
will  only  ai)ply  as  matters  of  past  history. 

foreigner's    VISIT    TO    AN    AMERICAN  CHURCH. 

Let  us,  however,  draw  a  picture  from  imagination,  the  like  of 
which  has,  in  fact,  many  times  happened  in  substance,  if  not  in 
every  particular. 

17* 


198  CHURCHES,    MINISTERS   AND   CONGREGATIONS. 

Let  US  suppose  a  foreigner  on  a  visit  to  America,  unacquainted 
with  our  modes  of  worship,  to  make  inquiry  in  regard  to  the  forms 
of  worship  in  our  churches.  He  is  told  that  the  exercises  consist 
of  prayer,  praise  and  preaching.  That  praying  and  preaching  were 
conducted  by  a  teacher,  or  minister,  of  acknowledged  piety,  regu- 
larly chosen  and  inducted  into  office  for  that  purpose ;  thoroughly 
educated,  so  as  to  be  able  to  explain  and  defend  the  doctrines  of  the 
word  of  God.  In  regard  to  the  other  act  of  worship,  —  namely,  that 
of  singing,  —  the  stranger  must  be  informed  that  it  is  performed 
by  an  indefinite  number  of  persons,  who,  without  particular  regard 
to  age,  education  or  character,  voluntarily  associate  themselves 
together  for  the  purpose,  to  sing  the  words  that  are  dictated  by 
the  minister  from  the  pulpit,  on  the  Sabbath.  He  goes  to  church, 
—  sees  the  man  of  God  in  his  place,  who  reads  the  Scriptures,  — 
prays.  All  is  solemn  and  appropriate.  The  psalm  or  hymn  is 
to  be  announced,  and  he  says,  "  Let  us  continue  the  worship  of 
God  by  singing."  The  hymn  is  read.  The  stranger  expects,  and 
has  a  right  to  expect,  the  same  solemnity,  in  this  performance,  as 
in  that  which  has  preceded.  He  looks  where  other  eyes  are  directed, 
and  there  sees  a  number  of  young  persons,  apparently  in  confusion, 
partly  hidden  by  a  curtain,  preparing  for  some  exploit.  By  and  by 
he  hears,  perhaps,  the  sound  of  instruments  similar  to  those  he 
had  heard  before  at  the  theatre,  —  if  he  had  ever  been  there.  The 
singers  catch  the  sound,  —  they  rise,  and  thoughtlessly  commence, 
and  continue  the  exercises  as  directed.  Nothing  in  the  air  of  the 
performers  or  in  the  style  of  performance  gives  any  indication  of 
solemnity,  that  can,  in  his  mind,  possibly  connect  this  service  to 
what  he  has  heard  before.  The  sermon  is  heard,  and,  unless  some 
happen  to  fall  asleep,  attention  is  pretty  general  to  the  word 
preached.  Perhaps  he  recognizes,  among  the  singers,  individuals 
whom  he  had  seen  taking  an  active  part  on  the  stage  of  a  theatre. 
He  might,  at  least,  with  propriety,  admit  to  be  true,  what  foreign- 
ers frequently  say  of  Americans,  that  they  have  no  trade  in  par- 
ticular^ but  could  turn  their  hand  to  any  and  every  thing. 


CnURCUES,    MINISTERS   AND   CONGREGATIONS.  199 

REASONS   FOR   UIRINQ   THEATRICAL   SINGERS. 

Should  he  ask  how  it  happens  that  singers  employed  in  theatri- 
cal performances  are  employed  also  to  assist  the  minister  in  the 
worship  of  God,  he  would  probably  be  told  that  voluntary  choirs 
arc  so  irregular  and  contentious,  and,  withal,  so  incapable  of  giving 
very  reSncd  singing,  that  it  is  found  to  be  less  trouble,  and  more 
gratifying,  to  hire  a  few  accomplished  singers,  and  have  the  thing 
done  scientifically. 

If  he  were  informed  that  churches  were  composed  of  those  who 
profess  to  be,  in  a  peculiar  sense,  the  followers  of  Christ, —  who  had 
bound  themselves,  by  mutual  covenant,  to  promote  the  pure  wor- 
ship of  God  on  earth,  especially  in  the  church  with  which  they  had 
connected  themselves,  —  would  he  not  naturally  reason  that  it  was 
the  duty  of  these  professors  to  sing,  as  well  as  pray,  and  to  see 
that  this  part  of  worship  is  properly  performed  ?  Would  he  not 
inquire,  Cannot  Christians  sing?  If  so,  can  they  delegate  to 
others  the  duty  that  belongs  to  themselves  ?  Let  every  Christian 
answer  the  question  for  himself. 

REASONS    FOR    THE    YOUNG    UNDERVALUING    SINGING  IN  THE    CHURCH. 

Although  members  of  the  church,  and  other  men  of  influence, 
have,  by  their  example  in  not  taking  a  part,  given  occasion  for  the 
young  to  regard  singing  in  the  church  as  of  little  consequence, 
still  more  have  they  many  times  disheartened  those  who  did  sing, 
by  their  dictations  and  complaints.  Their  language  was,  perhaps, 
"  You  are  a  quarrelsome  set  of  beings  ;  go  on  your  own  way."  And 
the  young  had  it  their  own  way,  in  every  sense  of  the  word. 

ERRORS   OF   CLERGYMEN. 

No  better  evidence  is  needed  that  ministers  too  seldom  place  a 
due  estimate  on  this  act  of  worship,  than  the  fact  that,  instead  of 
having  any  appearance  of  joining  in  the  words  or  music,  many 
take  the  opportunity,  during  the  singing,  to  adjiLst  everything 
about  them.     The  manuscript  sermon  is  put  in  order ;  a  chapter 


200  CnURCHES,    MINISTERS   AND   CONGREGATIONS. 

in  the  Bible  is  found,  and  a  hymn,  to  be  read  next ;  and  perhaps 
he  beckons  to  the  sexton,  and  gives  some  directions  in  regard  to 
the  doors  and  windows. 

COMPLAINTS   AND    PERPLEXITIES. 

There  are  many  other  practices,  not  to  say  inconsistencies,  which 
have  justly  led  singers  to  suppose  that  their  performance  was  a 
sort  of  respite  from  worship,  rather  than  one  of  its  acts.  Among 
others,  it  has  been  customary,  after  the  reading  of  the  last 
hymn,  to  give  directions  to  take  a  contribution  while  the  hynni 
was  being  sung.  We  have  known  instances,  where  the  singers 
were,  in  our  opinion,  more  consistent  than  the  preacher,  and 
avoided  singing  till  the  collection  was  concluded,  much  to  the 
astonishment  of  the  preacher  and  congregation.  But,  if  singing 
is  an  act  of  worship,  why  might  not  the  minister  as  well  say,  •'  I 
wish  you  to  take  up  the  contribution  while  I  am  praying  "  ?  In 
some  respects,  the  latter  would  be  more  consistent;  for  the  jingling 
of  money  sounds  far  more  discordant  with  singing  than  with  the 
voice  of  a  single  speaker.  We  can  only  reconcile  such  things  on  the 
ground  that  custom,  not  judgment,  has  suffered  it  to  take  place. 

There  are  one  or  two  other  matters  of  inconvenience,  which  are 
not  thought  of,  and  perhaps  not  known,  by  many.  When  a  psalm 
or  hymn  is  given  out,  instead  of  mentioning  the  verses  to  be  omit- 
ted (if  any),  the  clergyman  reads  the  whole.  The  chorister  is  all 
the  while  busily  engaged  in  selecting  a  tune  applicable  to  the  hymn 
as  a  whole.  Some  of  the  verses  are  pathetic,  perhaps,  and  some 
cheerful.  lie  names  a  tunc  that  he  thinks  will  best  aeconunodate 
a  majority  of  the  words,  when  lo !  in  the  midst  of  the  confusion 
to  find  book,  page  and  tune,  the  minister  says.  Please  to  omit 
such  and  such  verses,  —  the  very  verses,  perhaps,  that  have  influ- 
enced the  chorister  in  his  selection.  Now  all  is  wrong.  The 
singers  have  been  so  intent  on  their  search,  that  they  have  not 
all  heard  the  directions,  and  rise  and  sing  ;  and,  besides  the  inap- 
propriate tune,  they  are  soon,  Babel-like,  some  singing  one  verse, 
some  another. 


CHURCHES,   MINISTERS   AND  CONGREGATIONS.  201 

It  is  not  uncommon  for  ministers  merely  to  name  some  one 
or  more  of  the  hymns,  and  perhaps  read  the  first  line ;  and, 
unless  the  singers  have  had  the  hymns  given  them  previously, 
there  must  be  some  considerable  time  before  they  can  be  prepared ; 
and  there  is  nothing  more  painful  to  a  congregation  than  waiting 
in  silent  suspense  for  any  exercise. 

minister's   connection   "WITH    SINGERS. 

We  have  already  alluded  to  the  strange  distance  there  was 
formerly  between  the  minister  and  singers,  nor  has  it  wholly  dis- 
appeared at  this  day.  Every  one  sees  the  necessity  of  coopera- 
tion between  the  minister  and  singers,  or  at  least  the  chorister, 
that  all  things  may  be  done  "  decently  and  in  order."  To  prevent 
confusion  and  mistakes,  the  latter  should  be  supplied  with  the 
hymns  and  stanzas  to  be  sung.  Until  the  last  thirty  years  this 
was  never  done ;  and  if  a  choir  wished  to  sing  a  select  piece,  and 
sent  the  words  to  the  minister,  it  was  quite  likely  to  be  considered 
as  a  gross  assumption  for  the  singers  to  undertake  to  dictate  to  him. 
The  custom  of  sending  the  sexton  to  the  pulpit,  to  wait  a  long  time 
till  the  hymns  are  selected,  besides  keeping  him  from  his  appro- 
priate duties,  is  by  no  means  pleasant  to  a  waiting  congregation. 
This  may  seem  necessary,  in  case  a  stranger  officiates.  But  we 
regard  singers  as  inexcusable  for  the  want  of  so  much  preparation, 
on  their  part,  as  may  enable  them  to  apply  two  or  three  tunes  to 
words  of  any  metre,  without  having  the  exact  hymn  beforehand. 
Obtain  the  hymns,  if  convenient ;  if  not,  never  delay  a  whole  con- 
gregation to  procure  them. 

ATTITUDE   IN   SINGING. 

The  restoration  of  old,  chaste  music,  about  1808,  awakened  an 
interest  in  singers  of  preceding  generations.  Ministers  and 
churches  were  siitisfied  that  poor  singing  made  a  miserable  congre- 
gation ;  and,  as  one  writer  says,  made  an  open  window  for  the 
preacher's  instruction  to  escape.     It  was  now  fondly  anticipatal 


202  CHURCHES,    MINISTERS   AND   CONGREGATIONS. 

that  a  generation  of  singers  would  rise  up  and  sing.  —  Rise  up 
and  sing,  did  we  say  ?  This  might  be  said  of  some  congregations 
now,  as  it  was  of  those  who  sung  praises  to  God  in  the  days  of 
the  patriarchs  and  prophets ;  but  is  entirely  inapplicable  to  reli- 
gious meetings  in  these  days,  where  worshippers  take  their  seats 
when  they  enter  the  vestry  or  place  of  worship,  and  many  of  them 
never  rise  till  the  closing  benediction  or  doxology.  This  custom 
has  not  been  of  long  continuance ;  and  we  believe  that,  if  Christians 
were  awake  to  the  best  interests  of  their  own  souls,  and  the  souls 
of  sinners,  they  would  not  sluggishly  sit  and  sing,  when  neither 
the  voice  nor  the  spirit  of  the  song  seems  to  rise  above  the  seats  on 
which  they  sit.  Besides,  to  enter  a  crowded  and  perhaps  ill-ven- 
tilated apartment,  wearing  an  unusual  quantity  of  clothing,  gjid 
coming  from  the  noise  and  bustle  of  active  duty,  to  sit  down  im- 
movably and  silently  for  an  hour  or  two,  must  inevitably  produce 
languor  and  stupor.  No  wonder  that  religious  meetings  seem 
dull,  —  that  preachers  see  so  many  of  their  audience  nodding,  — 
or  that  so  many  find  it  difl&cult  to  break  the  spell,  and  rise  from 
their  seats,  to  take  part  in  social  meetings,  while  such  a  practice 
prevails. 

DR.    ROMAINE. 

Dr.  Eomaine,  in  speaking  of  the  abuses  of  psalmody,  says,  "  The 
posture  generally  used  among  us  in  singing  to  me  is  very  oflfensive. 
Suppose  there  had  been  nothing  said  about  it  in  scripture,  is  it 
respectful  and  becoming  to  sit  down  to  sing  ?  Does  the  person 
that  pays  homage  sit,  or  he  who  receives  it  ?  But  it  is  not  left  to 
ourselves,  or  to  what  we  may  think  right  or  wrong.  The  case  is 
decided  in  the  scripture.  The  singers  and  musicians  stood  when 
they  performed  in  the  temple  service,  and  so  did  all  the  people,  — 
2  Chron.  5  :  12.  It  is  recommended  in  scripture  (Ps.  124-135), 
and  practised  by  laity  and  clergymen. 


CUURCIIES,    MINISTKKS    AM)    CONGREGATIONS.  203 

CHURCHES   AND   CONGREGATIONS  CONNECTED. 

In  speaking  of  churches  and  congregations,  we  are  constrained  to 
speak  of  them  as  one ;  for  churches,  as  such,  have  seldom  taken 
any  distinct  interest  or  direction  of  this  part  of  worship ;  therefore, 
when  schools,  choirs,  or  associations  for  the  advancement  of  the 
cause,  have  been  instituted,  all  mix  together,  without  distinction ; 
all  appear  to  have  been  impelled  by  the  love  of  music^  rather  than 
that  of  duty ;  consequently,  very  little  has  been  done  directly  or 
willingly  by  those  who  were  not  moved  by  the  harmony  of  sounds. 

LIKES   AND    DISLIKES   OF   HEARERS. 

Of  all  things  in  this  uneasy  world,  nothing  is  more  at  variance 
than  the  opinions  and  tastes  of  the  performers  and  hearers  of  mu- 
sic. Their  ears  differ  as  much  as  their  voices  and  faces.  It  may 
be  possible  to  find  some  one  tune  that  is  so  universally  pronounced 
good  that  no  one  dares  deny  or  condemn  it ;  but  no  one  supposes 
that  equal  pleasure  is  enjoyed  by  all  in  hearing  it ;  nay,  if  the 
truth  were  known,  it  would  be  found  that  many  had  no  pleasure  in 
it.  But  let  any  one  who  has  taught  and  led  singing  for  any  num- 
ber of  years,  relate  the  salutations  addressed  to  him  by  the  multi- 
tude in  regard  to  the  likes  and  dislikes  of  hearers,  and  it  will  fur- 
nish a  picture  of  human  cars  and  tastes,  if  not  of  nature,  quite 
varied,  and  show  better  than  anything  else  the  trials  and  perplex- 
ities of  choristers,  as  well  as  the  impossibility  of  satisfying  even 
the  members  of  one  congregation.  And  would  that  the  picture 
might  serve  to  terminate  the  never-ending  criticisms  of  those  who 
never  take  any  part  in  music,  but  to  give  their  opinions,  —  and 
generally  without  knowledge  ! 

COMPLAINTS   OF   THE   MANNER   OF   SINGING. 

We  venture  to  say  that  the  following  observations  will  sound 
familiar  to  all  leaders  of  choirs,  and  even  to  many  who  have  only 
taken  a  humble  part  in  them.  When  they  leave  the  church,  the 
inquiry  will  be  first,  perhaps.  What  was  that  tune  you  sung  last  ? 


204  CHURCHES,    MINISTERS   AND    CONGREGATIONS. 

It  was  an  awfully  dragging  affair.  Another  says,  The  last  tune 
you  sung  was  a  capital  tune,  but  I  think  you  sang  it  rather  too 
fast  for  music  so  grand  and  majestic.  Another  says,  They  sang 
altogether  too  soft ;  I  love  to  hear  singing  spoken  out  with  energy, 
and  move  on  with  animation.  Another,  I  think  the  choir  sing 
too  loud ;  if  the  tune  had  been  sung  softer,  the  words  would  have 
been  heard  disthictly.  Another,  The  air  was  so  low  that  there  did 
not  seem  to  be  much  music  in  it ;  I  like  to  hear  tunes  where  the 

voices  run  high,  so  that  Miss can  have  a  chance  to  show  off 

her  voice ;  for  we  don't  want  to  hire  her  for  nothing.  Another, 
I  was  pleased  in  regard  to  the  tune,  the  harmony  was  so  well 
blended,  and  the  parts  kept  in  their  proper  relations ;  it  is  dis- 
tressing to  hear  one  part  soaring  above  another.  These  and  a  thou- 
sand similar  observations  might  be  mentioned. 

COMPLAINTS   OF    TUNES   SUNG.  * 

Then,  in  regard  to  the  tunes  in  general :  A  friend  meets  you, 
and  observes,  You  seem  to  have  a  good  choir,  but  the  singing  does 

not  go  off  with  so  much  life  as  when  Mr.  13 was  chorister. 

Another,  Your  singing  is  well  enough,  but  you  have  a  poor  set  of 
tunes.  Another,  You  sing  too  fast,  altogether ;  such  rapid  nmsic 
was  never  intended  for  the  church.  Another,  I  wish  you  would  sing 
tunes  that  have  more  solos  and  duets.  I  want  to  hear  Mr.  C. 
and  Mr.  D.'s  voices  more.  Another,  I  hope  in  mercy  you  will 
avoid  singing  tunes  with  solos  and  duets  in  church ;  I  consider 
them  entirely  inconsistent  with  the  spirit  of  devotion ;  to  select 
some  one  or  two  of  the  choir  to  show  off  their  airs  in  the  house  of 
worship,  while  others  of  the  choir  stand  mute,  as  though  they  did 
not  approve  of  the  sentiment  oC  the  words,  just  as  I  have  known 
those  who  did  not  believe  in  the  trinity  keep  silence  when  the 
words  Father,  Son  and  Holy  Ghost,  occurred  in  a  doxology.  One 
says,  I  was  glad  to  hear  you  sing  one  tune  that  sounded  somewhat 
like  tunes  I  heard  when  a  boy,  —  I  mean  where  one  part  conies 
in  after  another,  —  it  reminds  me  of  good  old  times.  Uut 
another  expresses  astonishment  that  the  present  enlightened  gen- 


CUURCIIES,    MINISTERS    AND    CONGREGATIONS.  205 

eration  of  singers  should  stoop  so  low,  as  to  revive  or  introduce 
tunes  similar,  if  not  the  same,  as  those  sung  where  the  words  were 
scattered  in  every  direction.  Thus  much  may  suffice  to  give  an 
idea  of  some  of  the  trials  that  have  been  passed  through,  and  that 
may  be  expected  hereafter ;  fur  ears  and  tastes  continue  the  same. 

OriNIONS    OF    CHANTS   AND    ANTHEMS. 

"We  will  venture  a  little  further,  and  hear  something  about 
chants  and  anthems. 

We  hear  it  said  by  some.  What  sense  is  thore  in  those  chants  ? 
There  does  not  seem  to  be  any  tune  to  them.  Then,  again,  it  used 
to  be  said.  Well,  you  are  going  on,  step  by  step,  introducing  Epis- 
copalian or  Roman  Catholic  service ;  we  shall,  if  you  continue,  soon 
expect  to  see  images  in  the  church.  Another,  How  beautiful  and 
devotional  is  this  chanting,  when  the  words  and  sentiment  can  bo 
so  perfectly  understood  !  One  can  almost  realize,  in  imagination, 
the  heavenly  host  chanting,  Glory  be  to  the  Father,  &c. 

Then,  again,  the  chorister  is  often  accosted  as  follows  :  Why 
don't  you  sing  more  select  music  and  anthems  ?  AYe  used  to  hear 
them  often,  but  now,  for  some  cause,  you  have  almost  discarded 
them  ;  there  is  nothing  more  reviving  and  animating  than  a  good 
lively  anthem,  at  the  close  of  service.  But  another  one  says,  I 
was  distressed  and  mortified,  that  after  so  solemn  a  sermon  as  we 
had  last  Sabbath,  you  should  undertake  to  perform  an  anthem  ;  I 
think  it  was  calculated  to  dissipate  all  the  serious  impressions  made 
by  the  preaching.  I  hope  I  shall  never  hear  anything  of  the  kind 
again,  unless  it  is  some  piece  of  music  where  the  words  exactly 
correspond  with  the  subject  of  the  sermon. 

OF    EXPRESSION    IN    WORDS    AND    MUSIC. 

Th(ife  are  observations,  however,  still  more  trying.  A  leader 
has,  for  a  whole  evening,  been  training  and  preparing  the  voices, 
cars  and  feelings  of  his  ghoir,  to  give  expression  to  the  words 
intended  to  be  sung  on  the  following  Sabbath.  They  are  of  various 
characters,  —  some  spirited,  some  pathetic.  They  have  been  cx- 
IS 


206  cnuRCnES,  ministers  and  congregations. 

ccuted  in  church  to  his  satisfaction.  He  meets,  in  passing  out, 
one  who  knows  and  appreciates  good  and  appropriate  singing,  and 
who,  with  a  tear  glistening  in  his  eye,  says.  That  was  delightful, — 
any  one  who  could  not  feel  the  power  of  such  music  must  have  a 
heart  of  stone.  He  passes  quietly  on  for  a  few  steps,  when  some 
one  comes  rushing  on  behind  him,  and  acc-osts  him  with  the  ques- 
tion, in  which,  probably,  one-half  the  congregation  would  have 
joined.  What  was  the  matter  with  your  singers  ?  They  "  got  out," 
two  or  three  times,  did  n't  they  ?  If  he  is  asked  whether  he  noticed 
the  sentiment  of  the  words  that  caused  the  change,  the  answer 
would  be,  No,  I  heard  the  minister  read  the  words,  and  that  was 
enough ;  I  attend  to  the  singing  afterwards. 

OF   THE   ORGANIST. 

In  regard  to  the  organist,  there  is  less  knowledge,  and,  if  pos- 
sible, more  complaints,  or  diversity  of  opinion.  Each  one  in  the 
congregation  gives  his  decided  opinion,  and  considers  himself  a 
competent  judge  ;  and  the  poor  organist  has  all  kinds  of  exclama- 
tions heaped  upon  him,  such  as,  That  was  horrid  !  how  tame  his 
playing  !  what  miserable  interludes  !  Why  did  he  play  such  long 
interludes  ?  it  made  me  nervous.  Another,  Why  does  he  make 
his  interludes  so  short  ?  They  are  so  sweet  I  never  should  be 
tired  of  hearing  them.  One  thinks  they  were  too  loud ;  another, 
too  soft.  And  in  regard  to  the  voluntary,  all  the  same, —  too  long, 
or  too  short,  —  too  loud,  or  too  soft,  —  too  lively,  or  too  solemn, 
and  so  on. 

PROMISCUOUS   singing   IN    CONGREGATIONS. 

We  have  only  one  more  presentation  of  the  church  and  congre- 
gation to  make,  and  that  relates  to  the  assistance  rendered,  or 
attempted,  in  joining  as  a  congregation  with  the  choir.  We  have 
spoken  of  their  sayings ;  but  they  have  doings  also,  worthy  of 
notice,  some  of  which  it  seems  proper  to  present.  If  we  are  asked. 
Is  congregational  singing  desirable  ?  we  answer,  yes ;  but  not  till 
all,  or  a  majority,  have  learned  to  sing.    It  requires  more  skill  and 


CnURCHES,    MINISTEKS   AND   CONGREGATIONS.  207 

independence  for  one  to  sing  sitting  remote  from  a  choir,  than  to 
be  one  among  them.  There  are  many  tunes  of  a  choral  character, 
where  the  notes  are  of  equal  or  nearly  equal  measure,  where  those 
who  can  sing  may  join  all  over  the  church,  without  much  hesita- 
tion ;  but  in  music  of  a  mixed  character,  especially  where  the 
words  are  changing  in  spirit  and  sentiment,  and  the  choir  has  been 
trained  to  a  particular  manner  or  movement,  to  give  expres- 
sion to  music  and  words,  the  best  of  singers,  separate  from  the 
choir,  will  often  find  himself  beginning  or  finishing  some  words 
solus.  But  we  have  little  to  fear  from  this  class ;  they  soon  learn 
either  to  proceed  with  care,  or  become  hearers  only.  Another 
class  of  persons  always  sing,  not  knowing  what  they  sing.  Their 
voices  will  generally  be  found  following  after  the  air  of  a  tune, 
but  not  sure  to  be  there ;  it  is  quite  as  likely  that  some  other  part, 
having  some  prominent  note  or  nffics,  will  have  their  company,  not 
in  cither  case  with  others,  but  stepping  in  their  steps.  And  what 
can  there  be  more  annoying,  when  a  solo  or  duet  occurs  in  a  tune 
adapted  to  a  psalm  or  hymn,  and  assigned  to  single  voices  in  the 
choir,  than  to  hear  one,  two,  or  more  voices,  here  and  there  in 
the  congregation  below,  dragging  after,  heedless  themselves,  but 
not  unheeded  by  those  who  have  any  sense  of  propriety,  within 
hearing. 

We  have  one  more  class  to  mention,  but  we  are  at  a  loss  what 
to  say  or  how  to  describe  them  among  singers.  We  cannot 
expect  that  anything  we  can  say  will  avail  much,  for  they  are 
a  class  that  do  not  know  enough  to  be  aware  that  they  know 
nothing  about  singing ;  of  course,  they  «iumble  and  jumble  over 
the  words  in  an  unknown  noise  and  tongue.  And  if  they  have 
the  spirit  of  singing  within,  they  have  no  understanding  with- 
out. Yet  nothing  can  induce  them  to  desist.  They  say,  they 
wish  to  sing,  they  love  to  sing,  they  are  coinmaTided  to  sing,  and 
have  a  right  to  sing ;  and,  if  their  manner  is  not  so  refined,  they 
must  do  their  duty.  This  class  of  hangers-on  are,  of  all  grades,  the 
worst,  beginning  with  those  who  have  voices  to  follow  after  oth- 
ers, down  to  those  who  can  sound  but  one  note.     We  have  known 


208  cnuRCHES,  ministers  and  congregations. 

many,  who  had  pews  near  such  plodding  singers,  remove  to 
another  part  of  the  church,  to  avoid  the  annoyance ;  but  not 
always  freed,  for  others  were  found  elsewhere.  We  have  some- 
times thought  that  it  would  be  well  to  have  a  committee  in  every 
church  to  admonish  and  advise  with  those  who  disturbed  the 
devotion  of  others  by  their  disorderly  singing. 

There  are,  at  the  present  day,  customs  prevailing  in  worship- 
ping assemblies,  in  which  all  are  more  or  less  interested.  In  some 
congregations  it  is  customary  to  have  spacious  seats  for  singing 
choirs,  and  to  have  them  well  filled,  so  that,  occasionally,  at  least, 
they  can  sound  forth  the  praises  of  God  in  grand  chorus  ;  and  by 
so  doing,  give  evidence  that  this  part  of  worship  is  appreciated  by 
the  church  and  congregation.  Others  say.  Quartette  singing  is 
best ;  four  singei^s  make  the  sweetest  music ;  and  seats  are  provided 
accordingly.  Some  think  it  desirable  that  this  part  of  public  wor- 
ship should  be  led  by  a  professor  of  religion.  Others  say.  No  mat- 
ter who  leads,  if  they  do  but  make  splendid  singing.  Some  choirs, 
to  give  an  opportunity  for  the  congregation  to  join  their  voices, 
occasionally  select  some  familiar  tune  ;  while  others,  particularly 
where  there  are  but  few  singers,  virtually  say.  Let  us  sing  some- 
thing new,  so  as  to  keep  the  congregation  attentive. 

The  attitude  of  congregations,  while  singing  is  performed,  is 
various.  Some  rise,  turn  round,  and  face  the  singers.  Others 
think,  or  say,  This  method  has  too  much  the  appearance  of  wor- 
shipping the  choir ;  consequently,  contend  for  the  opposite  posi- 
tion ;  but,  as  it  is  natural  to  direct  the  eye  to  the  point  whence  the 
sound  to  which  we  listen  comes,  some  will  involuntarily  turn  part 
way  round  ;  others  turn  their  head,  looking  over  the  shoulder ; 
others  turning  quite  round.  In  all  cases  many  individuals  remain 
seated ;  some  whole  congregations  keep  their  seats,  till  the  singing 
of  the  doxology.  The  foregoing  customs  are  recorded  as  matters 
of  fact,  existing  at  the  present  day.  Whether  uniformity  is  attain- 
able or  desirable,  is  a  question  for  the  public  to  decide. 


I 


CHAPTER  XVI. 

EFFECTS  OF  MUSIC. 

Music  God's  Gift  to  I\Ian  for  a  Sacred  Purpose,  —  Extract.  —  Different  Effects 
of  Music.  —  Elects  in  Scripture  Times.  —  Sayings  of  JIartin  Luther.  —  Dr. 
Pomcroy's  Description  of  Music  in  Constantinople.  —  Effect  at  the  Perform- 
ance of  Ilandel's  Messiah.  —  Of  a  Band  of  ^lusic  on  Savages.  —  Barbarous 
Conquerors  suklued.  —  Singing  at  the  Siege  of  York.  —  jMusic  at  the  Battle 
of  Quebec.  —  Among  the  Ancients.  —  Peruvian  Indians.—  Law-suits  settled 
in  Greenland. — Of  National  Music. — Cases  of  Insanity  cured. — Secular 
Music  in  the  Days  of  our  Fathers.  — "Want  of  Knowledge  in  Music.  — Of  a 
Sultan  at  Constantinople.  —  Of  Ostinelli's  Performance.  — False  Notions  of 
Music.  —  Effect  lost  mixed  with  Talking.  —  Effect  of  Different  Instruments. 
—  Vocjil  Music  (ff  Different  Character  produces  Different  E.iecls.  —  Music  in 
the  Theatre.  —  Church  Music  outlives  all  other  Kinds. —  Effects  of  Bad  Con- 
gregational Singing.  — (Jood  Congregational  Singing.  — Conventions  of  Sing- 
ers.—  Conventions  of  Churches. — Effect  on  an  Individual.  —  Singing  of 
Children.  —  Effects  on  Preachers  of  the  Gospel.  —  Of  a  Single  Voice.  —  Effect 
in  a  Clergyman's  Family.  —  The  Nobleman's  Daughter.  —  Effect  on  the  Bed 
of  Death,  and  at  a  Funeral.  —  Importance  of  Music  in  the  World. 

MUSIC  cod's  gift  to  man  for  a  sacked  purpose. 
Music  was  communicated  to  man  for  noble  and  sacred  purposes, 
and  to  produce  important  effects  on  society  generally,  conveying 
sentiments  of  passion,  to  heighten  the  emotions  of  sorrow  and  joy, 
refining  the  feelings,  elevating  the  affections,  softening  the  obtlu- 
rate  heart,  directing  the  mind  of  man  towards  heaven.  The  effects 
of  music  in  its  highest  sense  are  beautifully  described  in  the  fol- 
lowing lines  : 

EXTRACT. 
*'  Wlien  Israel's  kins^  was  troubled,  her  soft  hand. 
Put  close  but  gently  to  his  gloomy  breast. 


210  EFFECTS  OF   MUSIC. 

Reached  the  dark  spirit  there,  and  laid  it  still, 

Bound  by  the  chords  a  shepherd's  minstrel  swept. 

And  since  her  countless  thousands  she  has  brought 

To  heaven's  mild  kingdom,  happy  captives,  led 

By  those  sweet  glowing  strains  of  David's  lyre. 

But,  0  !  her  richest,  dearest  notes  to  man, 

In  strains  aerial  over  Bethlehem  poured. 

When  He,  whose  brightness  is  the  light  of  heaven. 

To  earth  descended  for  a  mortal  form. 

Laid  by  his  glory,  save  one  radiant  mark. 

That  moved  through  space,  and  o'er  the  infant  hung. 

He  summoned  music  to  attend  him. 

Announcing  peace  below. 

He  called  her,  too. 
To  sweeten  that  sad  supper,  and  to  twine 
Her  mantle  round  him,  and  his  few  grieved  friends. 
To  join  the  mournful  spirits  with  the  hymn, 
Ere  to  the  Mount  of  Olives  he  went  out, 
So  sorrowful. 

And  noAV  his  blessed  word, 
A  sacred  pledge,  is  left  to  dying  man. 
That  at  his  second  coming,  in  his  power, 
Music  shall  still  be  with  liim,  and  her  voice 
Sound  through  the  tombs,  and  Avake  the  dead  to  life. 

Then  will  her  mission  out  of  heaven  be  o'er, 
Her  end  achieved,  her  parents  found  again, 
Her  place  forever  near  the  throne  of  God." 

-m 
DIFFERENT    EFFECTS   OF    MUSIC. 

The  (IHTercnt  effects,  caused  by  different  instruments  made  use 
of,  the  construction  of  music,  and  the  different  tone  given  in  per- 
forming it  by  the  voice  and  instruments,  added  to  the  peculiarity 
of  the  different  occasions  in  which  it  is  employed,  are  mysterious, 
and  prove  that  music  of  itself,  but  more  especially  when  connected 
with  words,  has  a  power  beyond  conception. 

EFFECTS   IN    SrillPTURE   TIMES. 

The  effects  of  music,  in  the  days  of  the  prophets  and  patriarchs, 
on  the  multitude,  must  have  been  very  wonderful.     That  wc  may 


EFFECTS   OF   MUSIC.  211 

bo  led  to  contemplate,  from  time  to  time,  a  history  of  its  effects,  let 
us,  for  a  moment,  cast  our  minds  backward,  in  the  history  of  man. 

Think  of  that  scene,  which  will  ever  present  itself  vividly  in  the 
imagination  of  every  believer  in  Holy  Writ,  when  Miriam,  the 
prophetess,  took  a  timbrel  in  her  hand,  and  the  women  followed 
her  with  the  same  instrument,  which  roused  the  host  of  Israelites, 
who  rose  and  sung  as  they  were  directed,  the  burden  of  their  song 
being  an  expression  of  gratitude  to  God  for  the  glorious  triumph 
wrought  by  him  in  their  deliverance.  Think  of  the  scene  when 
David  returned  from  the  Philistines,  when  all  the  singers  came 
out  of  the  cities  to  meet  Saul,  with  timbrels  and  with  joy.  Also, 
when  David  and  all  Israel  appeared  before  God,  with  singing,  play- 
ing with  harps,  with  psalteries,  timbrels,  cymbals  and  trumpets,  at 
the  dedication  of  the  walls  of  Jerusalem,  where  the  Levites  were 
sought  out  of  all  their  places,  to  bring  them  together  to  Jerusalem, 
to  keep  the  dedication  with  gladness.  What  a  wonderful  effect 
must  this  display  of  music  have  had  on  the  mighty  host  that  were 
within  hearing ! 

It  seems  almost  needless  to  mention  the  effect  of  David's  harp 
in  dispelling  evil  spirits  from  Saul ;  for  we  presume  the  fact  will 
present  itself  to  every  reader,  even  before  we  mention  it. 

SAYINGS    OF    MARTIN    LUTHER. 

"  Music,"  says  Martin  Luther,  "  has  ever  been  my  delight ;  it 
has  always  excited  and  moved  me,  so  as  to  give  me  a  greater 
desire  to  preach. 

"  I  have  always  been  fond  of  raasic.  He  who  undertakes  this 
art  is  the  right  sort  of  a  man,  and  is  fit  for  anything  else.  It  is 
needful  that  music  should  be  taught  in  schools.  A  schoolmaster 
must  be  able  to  sing,  or  I  do  not  think  much  of  him.  Music  com- 
cth  near  to  theology  ;  I  would  not  exchange  my  little  knowledge 
of  it  for  much  money.  The  young  should  be  constantly  exercised 
in  this  art,  for  it  refines  and  improves  men.  Singing  is  the  best 
<  >f'  arts  and  exercises ;  it  is  not  of  a  worldly  character,  and  it  is  an 
tmtidotc  for  all  contentions  and  quarrels.    Singers  are  not  gloomy, 


212  EFFECTS   OF   MUSIC. 

but  joyful,  and  sing  their  cares  away.  There  can  be  no  doubt 
that  Jn  minds  which  are  affected  by  music  are  the  seeds  of  much 
that  is  good ;  and  those  who  are  not  affected  by  it  I  regard  as 
stocks  and  stones.  Music  effecteth  what  theology  alone  can 
effect  besides  :  It  giveth  peace  and  a  joyful  mind.  Therefore,  the 
prophets  have  employed  no  art  as  they  have  music,  inasmuch  as 
they  have  put  their  theology  not  into  geometry,  arithmetic  or 
astronomy,  but  into  music.  Hence  it  cometh,  that  by  teaching  the 
truth  in  psalms  and  liymns,  they  have  joined  theology  and  music  in 
close  union."  ^ 

DR.    POMEROY'S   description   OF    MUSIC    IN    CONSTANTINOPLE. 

Dr.  Pomeroy  said  he  attended  an  Armenian  church,  a  few  yeai-s 
ago,  at  Constantinople  ;  was  pleased  with  their  singing,  although 
he  could  not  understand  the  words.  They  all  sung  the  same  part, 
and  while  singing  the  hymn  they  had  their  eyes  closed ;  and  as 
they  sung  the  tears  trickled  down  many  cheeks.  On  inquiry  what 
the  hymn  was,  one  of  the  missionaries  informed  him  that  it  was 
"Rock  of  ages,  cleft  for  me."  He  observes,  in  connection,  that 
"  most  members  of  our  American  churches  take  precious  good  care 
that  the  singing  should  have  no  such  effect  on  them." 

EFFECT   AT   THE   PERFORMANCE   OF   HANDEL'S    MESSIAH. 

However  indifferent  the  mass  of  hearers,  even  at  the  present 
day,  to  sacred  music,  when  well  performed,  we  know  that  since 
the  days  of  David,  if  the  history  of  the  performance  of  some  of 
HandePs  oratorios  be  true,  there  has  been  music  performed,  so 
grand,  so  powerful,  and  so  perfect,  as  to  raise  a  whole  audience  of 
thousands  to  their  feet,  unconscious  of  the  time  when  they  rose. 

EFFECT  OF  A  BAND  OF  MUSIC  ON  SAVAGES. 

The  band  that  passes  through  the  street  will  draw  every  family 
to  the  window  ;  and  the  flute's  soft  notes,  floating  o'er  the  still  wa- 
ters in  a  summer  evening,  will  cause  the  Indian  to  lift  his  paddle 
from  the  water,  and  let  his  canoe  drift  noiselessly  down  the  stream. 


II 


I 


EFFECTS   OF    MUSIC.  213 

And  the  proudest  monarch  on  earth  will  kneel  and  weep  during 
some  of  the  strains  of  the  mighty  organ  and  choir,  as  they  perform 
the  3Iessiah.  The  jKX)r  Indian  and  Hottentot  weep  under  the 
influence  of  music,  and  give  positive  evidence  of  their  susceptibility 
to  the  milder  passions  and  emotions.  And  all  the  nations  of  the 
earth  associate  music  with  the  joys  of  a  futui'C  state  of  existence. 

BARBAROUS    CONQUERORS   SUBDUED. 

The  barbarous  conqueror's  heart  is  not  proof  against  the  soften- 
ing [K)wer  of  music.  When  Murad  IV.  had  taken  Bagdad  by 
assault,  in  1637,  he  ordered  a  general  massacre  of  the  inhabitants. 
One  Persian  alone  daral  to  raise  his  voice ;  —  he  demanded  to  be 
conducted  to  the  emperor,  as  having  something  of  importance  to 
communicate  to  him  before  he  died.  Having  prostrated  himself 
at  the  feet  of  3Iurad,  Scakculi  —  for  that  was  the  Persian's  name 
—  cried,  with  his  face  to  the  earth,  "  Destroy  not,  0  Sultan,  with 
me,  an  art  of  more  value  than  the  whole  empire  ;  listen  to  my 
songs,  and  then  thou  shalt  command  my  death."  Murad  consented. 
Scakculi  drew  from  under  his  robe  a  little  harp,  and  poured  forth, 
extempore,  a  sort  of  romance  on  the  ruins  of  Bagdad.  The  stern 
Murad,  in  spite  of  the  shame  which  a  Turk  feels  in  betraying  the 
leaat  emotion,  was  melted  into  tears,  and  commanded  the  massacre 
to  be  stopped. 

SINGING   AT    THE   SIBSE   OF    YORK. 

Master  M.  tells  us  that  the  psalm-singing  at  the  siege  of  York, 
in  1G45,  was  the  most  excellent  that  has  been  known,  far  excelling 
all  other,  and  intinitcly  beyond  all  verbal  expression  or  conceiving. 

"  The  abundance  of  people  of  all  ranks,  beside  the  soldiers, 
crowded  the  church,  and  always  before  sermon  the  whole  congre- 
gation sang  a  psalm  together,  with  an  organ  of  iunnense  }X)wcr ; 
and  when  this  vast  concording  unity  of  the  whole  came  thunder- 
ing in,  0,  how  unutterably  ravishing,  soul-delighting !  In  the 
which  I  was  so  transported,  that  there  was  no  room  left  in  my 


214  EFFECTS   OF   MUSIC. 

whole  man,  cither  body  or  spirit,  for  anything  below  divine  and 
heavenly  raptures." 

MUSIC  AT  THE  BATTLE  OF  QUEBEC. 

At  the  battle  of  Quebe^,  in  1760,  while  the  British  troops  were 
retreating  in  great  disorder,  a  field-officer,  commanding  the  High- 
landers, complained  to  the  general,  with  great  warmth,  "  You  did 
very  wrong  in  forbidding  the  pipers  to  play  this  morning,  —  nay, 
even  now  it  would  be  of  use."  "  Let  them  blow  away,"  said  the 
general,  "  if  it  will  bring  them  back  to  order."  They  played  a 
martial  air ;  the  Highlanders  heard,  and  hastened  back  to  their 
duty,  with  alacrity  and  courage. 

AMONG    THE   ANCIENTS. 

The  effect  of  music  among  the  ancients  is  not  altogether  fabu- 
lous. Their  music  was  simple,  merely  simple  airs,  such  as  steal 
imperceptibly  on  the  mind.  If  the  son  of  Jesse  could  control  the 
ravings  of  his  sovereign  by  the  simple  inflections  of  the  harp,  why 
might  not  Orpheus  perform  equal  wonders  in  Greece  ?  Even  in  our 
day,  many  a  one  will  turn  from  a  full  choir  to  hear  the  simple 
tones  of  an  itinerant  bard. 

The  reasons  of  the  different  effects  produced  by  different  species 
of  music,  and  why  one  series  of  sounds  should  have  a  peculiar  effect 
on  the  organ  of  hearing,  and  by  the  auditory  nerves  on  the  mind, 
will  be  known  only  by  mortals  when  they  shall  know  why  each  of 
tlic  colors  of  the  rainbow  has  a  specific  effect  upon  the  eye,  some 
soothing  and  some  dazzling. 

PERUVIAN    INDIANS. 

We  read  that  the  character  of  the  Peruvian  Indians  is  uncom- 
monly sombre  at  the  present  time,  brought  about  by  continuous 
wrongs,  although,  if  we  may  believe  early  writers,  it  was  formerly 
very  diflercnt.  This  gloomy  aspect  appears  in  their  songs,  music  and 
dances.  Their  favorite  instruments  are  called  the  jmtuta  and  the 
jaina.    The  former  is  a  great  conch-shell,  producing  dismal  sounds. 


EFFECTS   OF   MUSIC.  215 

to  accompany  their  mourning  dances.  The  jaina,  a  more  modern 
invention,  is  made  out  of  a  large  reed,  very  simple  in  its  construc- 
tion. The  tone  is  thrillingly  sad,  unlike  any  other  instrument, 
producing  a  marvellous  cfifect,  stilling  the  wildest  horde  of  Indians 
in  the  midst  of  uproar  and  debauchery.  At  its  notes  they  become 
motionless  and  mute.  A  tear  will  steal  into  the  eye,  never  before 
moistened,  unless  by  intoxication,  and  the  sobs  of  the  women  are 
the  only  sounds  that  disturb  the  almost  unearthly  music.  Yet  the 
magic  tones  are  always  heard  with  unabated  eagerness.  By  the 
diflferent  specimens  of  music,  produced  under  different  circum- 
stances, by  different  instruments,  the  effect  is  much  the  same 
throughout  the  world. 

LAW-SUITS    SETTLED    IN    GREENLAND. 

In  Greenland  it  is  said  they  have  no  law-suits.  If  one  thinks 
himself  abused,  to  gain  reparation  he  sets  about  preparing  humor- 
ous and  sarcastic  incidents  of  his  adversary's  life  and  character,  set- 
ting all  to  music,  and  teaching  it  to  his  family,  with  no  other  ob- 
ject than  to  ridicule  and  to  use  him  up.  He  then  gives  notice  to 
the  neighborhood  of  the  time  and  place  where  he  will  sing  at 
his  opponent,  as  they  express  it.  In  the  same  manner  his  oppo- 
nent arrays  himself.  When  both  parties  have  sung  out,  the 
bystanders  decide  who  has  gained  the  suit,  whereupon  the  par- 
ties, having  fully  vented  the  spleen  of  their  hearts,  shake  hands, 
and  are  as  good  friends  as  ever.  This  practice  is  a  saving  of 
money,  and  sometimes  blood.  , 

OF   NATIONAL   MUSIC. 

Songs  or  poetry,  connected  with  the  airs  or  music  attached  to 
them,  have  a  wonderful  effect  on  a  community.  It  was  the  vigor- 
ous poetry  and  music  of  the  Marseilles  Hymn,  acting  on  minds 
already  excited  by  the  events  of  a  momentous  crisis,  tliat  created 
such  an  enthusiasm  and  frenzy.  And  the  music  alone,  without 
the  poetry  associated,  has  ever  since,  on  exciting  occasions,  run 
through  the  nation.     So,  in  our  own  country,  the  simple  tune  of 


216  EFFECTS    OF    MUSIC. 

"  Yankee  Doodle  "  has  had,  and  will  have,  an  eflfect  on  all  gener- 
ations associated  with  the  scenes  of  the  American  Revolution,  and 
acting  on  the  feelings  of  every  hearer  with  an  indescribable  power, 
affecting  the  whole  system.  "  God  Save  the  King  "  and  "  Rule 
Britannia,"  in  England,  and  the  national  airs  of  Switzerland  and 
Highlands  of  Scotland,  will  cause  the  goldier,  when  away  from  his 
country,  to  feel,  if  not  weep,  at  the  sound. 

CASES   OF   INSANITY    CURED. 

The  unfortunate  victims  of  insanity  have  frequently  been  re- 
stored to  reason  by  a  right  use  of  music,  according  to  reports  of 
lunatic  hospitals.  The  victim  of  sorrow  often  feels  and  owns  its 
magic  powder  in  dispelling  from  the  mind  and  heart  gloomy  doubts 
and  fears.  Its  power  is  exercised  in  its  highest  perfection  in  the 
service  of  religion.  Instances  are  not  uncommon,  when  the  sermon 
has  failed  to  produce  any  effect,  melting  music,  like  the  Saviour's 
tender  look  on  wayward  Peter,  has  often  pierced  the  obdurate  heart. 

Augustine,  when  entering  the  church  of  Milan,  heard  the  Am- 
brosian  chant.  "  The  sounds,"  said  he,  "  flowed  in  at  my  ear,  — 
truth  was  distilled  into  my  heart ;  the  flame  of  piety  was  kindled, 
and  my  tears  flowed  for  joy."  Music  is  incapable,  in  itself,  of 
expressing  meanness,  or  uttering  falsehood. 

SECULAR   MUSIC    IN    THE   DAYS   OF   OUR   FATHERS. 

Of  secular  music  in  the  days  of  our  fathers  we  know  but  little  ; 
and  if  we  knew  all,  the  story  would  probably  be  short.  ^Vc  have 
heard  songs  or  narrations  sung,  that,  from  the  circumstances 
related,  must  have  been  written  more  than  a  hundred  years  ago. 
Through  the  daj'S  of  liillings,  and  long  afterwards,  nothing  of  an 
instrumental  accompaniment,  except  it  might  be  a  few  notes  on 
the  bass-viol,  was  known.  The  words  were  generally  an  account 
of  some  battle,  sudi  as  Captain  Lovewell's  Fight,  or  General 
Wolfe's  Death;  of  (Captain  Kidd,  or,  what  was  still  more  affecting, 
some  love-ditty,  such  as  "  Cruel  Barbara  Allen."  At  social  parties, 
songs  of  this  kind,  however  simple  they  may  seem  to  the  reader. 


EFFECTS   OF    MUSIC.  217 

formed  an  csscntiul  item  in  the  entertainment,  and  the  manner 
and  effect  was  many  times  thrilling.  The  marked  attention  of  all 
present  would  be  worthy  of  imitation  at  the  present  day.  Then, 
if  some  one  or  more  were  acquainted  with  a  song,  and  persuaded 
to  sing  or  unite  in  singing  it,  all  amusement  and  convei-sation  was 
hushed.  The  melody  was  sung, —  nothing  more ;  except,  perhaps, 
some  few  notes  of  bass,  thrown  in  at  the  close  of  the  verse,  by  the 
hearers.  Many  were  the  tcai-s  that  stole  down  the  cheeks  of  the 
hearers  of  these  simple  ballads.  As  timo  rolled  on,  songs  more 
sentimental  made  their  appearance,  such  as  "  Sweet  Home."  Then 
patriotic,  such  as  "  Adams  and  Liberty,"  "  Hail  Columbia  ;  "  and 
here  and  there  a  tinkling  second-hand  piano  was  introduced  into 
country  villages.  The  sound  of  this,  however  insignificant,  com- 
pared with  the  best  of  the  present  day,  was  something  new,  and 
truly  astonishing.  As  these  instruments  were  multiplied,  new 
songs,  with  marches,  waltzes,  and  every  dcscriptio^Df  music,  fol- 
lowed ;  and  every  performer  who  could  blunder  through  the  notes 
of  the  "  Battle  of  Prague,"  and  make  the  report  of  cannon  on  the 
piano,  was  considered  as  having  arrived  at  perfection. 

For  the  last  thirty  years,  songs  of  every  description  have  been 
crowded  on  the  public,  many  of  the  words  too  insipid  to  repeat 
without  music  to  cover  their  import. 

WANT   OF   KNOWLEDGE   IN   MUSIC. 

Ignorance  and  want  of  taste  among  hearers  of  music  is  some- 
times a  source  of  annoyance  and  provocation  to  those  who  arc 
striving  to  produce  effect. 

OF    A    SULTAN    AT    CONSTANTINOPLE. 

A  modern  traveller  informs  us  that  the  band  of  an  English  am- 
bassador at  Constantinople  once  performed  a  concert  for  tho  enter- 
tainment of  the  sultan  and  his  court.  At  the  conclusion,  he  was 
asked  which  of  the  pieces  he  preferred.  He  replied,  the  first, 
which  was  reconmienccd,  but  was  soon-  stopped,  as  not  being  the 
right  one.  They  tried  another  and  another,  with  as  little  success. 
19 


218  EFFECTS  OF   MUSIC. 

Almost  despairing  of  finding  tlie  favorite  air,  they  stopped,  and 
began  tuning  their  instruments  again,  when  his  highness  exclaimed, 
"  Ishallah !  —  Heaven  be  praised,  —  that  is  it." 

OSTINELLl'S   PERFORMANCE. 

"We  will  mention  one  other  instance,  among  the  many  sim- 
ilar ones  we  have  known,  wherein  Ostinelli,  who  was  known 
through  New  England  as  one  of  the  first  and  best  violin-players, 
twenty  years  ago,  was,  with  others,  making  a  tour  through 
one  of  the  states,  giving  musical  entertainments  on  their  way. 
Being  invited  to  visit  a  certain  village,  where  they  were  told  they 
would  find  critics  and  lovers  of  music,  and  be  well  patronized, 
they  went ;  found  but  a  small  audience.  Not  disheartened,  he  de- 
termined to  win  golden  applause,  if  nothing  more,  by  astonishing 
the  few.  But  nothing  seemed  to  move  them.  At  last,  Ostinelli 
said,  "  Wait  ^eetle,  I  give  dem  de  grand  solo."  He  soon  pre- 
sented himself,  with  violin  in  hand,  with  high  expectations  of 
applause,  such  as  he  had  been  wont  to  receive.  He  sawed  away, 
getting  more  and  more  excited.  He  flourished  his  bow,  and 
ran  his  fingers  with  astonishing  velocity  over  the  instrument,  but 
all  to  no  purpose,  —  every  one  looked  as  though  he  were  expect' 
ingj  not  receiving.  The  solo  ended  with  a  beautiful  finale.  He 
bowed  and  lx)wcd,  and  was  moving  off",  when  one  of  his  audience 
bawled  out,  "  Look  a  here,  you ;  now  you  have  been  tuning  your 
darned  old  fiddle  abeout  long  enough,  can't  you  give  us  a  good 
tune,  now?" 

FALSE   NOTIONS   OF   MUSIC. 

After  all,  in  these  latter  days,  while  music  is  heard  in  almost 
every  house,  and  it  is  said  to  have  been  advancing  with  rapid  strides 
the  last  half-century,  we  find  the  grand  mass  of  the  people  en- 
tirely ignorant  and  unconscious  of  the  grand  design  of  sacred  music. 
They  hear,  but  no  eScct  is  produced,  because  they  listen  to  ?ioise, 
or  the  time,  rather  than  the  sentivicnt,  which  is  mortifying  to 
those  who  are  doing  all  in  their  power  to  make  music  and  words 
produce  the  desired  eficct. 


EFFECTS   OF   MUSIC.  219 

EFFECT   LOST   MIXED   WITH   TALKING. 

The  effect  of  the  best  of  music  is  often  lost,  and  worse  than  lost, 
when  accompanied  with  the  social  laugh  and  conversation  of  hearers, 
—  or  rather  those  present,  —  too  common,  in  modern  times,  in  the 
parlor  and  concert  room  ;  for  this  inconsistency  or  jargon,  lovers  of 
music  have  to  suffer,  while  those  who  have  but  little  soul  for 
music  seem  to  enjoy  it ;  and  many  times  it  seems  as  though  some 
one  was  urged  to  sit  at  the  piano  and  sing  to  make  room  for  the 
thoughtless  to  be  heard,  for  no  sooner  docs  the  singing  begin  than 
the  small  talk  ^mmences.  We  should  think  it  highly  improper 
to  ask  one  to  read  to  us,  and  commence  conversation  as  soon  as 
they  begin.  We  should  expect  the  reader  to  stop  instantly,  — 
why  not  the  singer  ? 

Why  not  stop,  I  say,  instantly,  like  Corelli,  an  eminent  musi- 
cian, who,  on  a  certain  occasion,  when  performing  a  solo,  observed 
Cardinal  Ottoborne  engaged  in  talking  with  another  person ;  he 
instantly  laid  down  his  instrument,  and,  being  asked  the  reason, 
replied,  that  he  feared  his  music  interrupted  the  conversation.  One 
thing  is  certain,  that  the  finest  speech  can  never  be  made  to  har- 
monize with  music;  — it  says  to  everything  around,  "  Peace,  be 
still." 

EFFECTS   OF   DIFFERENT   INSTRUMENTS. 

The  sound  of  the  trumpet  and  the  clarion  has  a  powerful  effect 
on  the  noblest  of  animals.  Used  for  the  battle-field,  the  sound 
thereof  makes  him  almost  unmanageable,  and  he  rushes  on  toward 
the  foe.  The  drum  and  fife  start  with  agreeable  surprise  every 
human  being,  —  even  the  old  decrepit  soldier  never  fails  to  be 
innervated  and  cheered,  and  caused  to  move  with  elastic  step. 
The  sailor  relieves  his  gloom  with  some  remembered  ditty.  The 
weary  peasant  is  cheered  by  the  charm  of  melody.  The  pedestrian 
relieves  his  weary  steps  by  the  humming  of  some  favorite  tunc 
that  rushes  into  his  mind.  Almost  every  event  of  life  which  is 
peculiarly  interesting  is  graced  with  the  charms  of  melody. 
Above  all,  religion's  holy  rites  are  made  far  more  impressive  and 


220  EFFECTS   OF   MUSIC. 

exalted,  and  for  this  the  grand  design  of  music  concenti*ates.  But, 
alas !  how  often  is  this  heavenly  gift  perverted  and  abused,  and 
used  for  the  worst  of  purposes,  to  kindle  the  worst  of  passions ! 

VOCAL   MUSIC   OF   DIFFERENT    CHARACTER   PRODUCES   DIFFERENT 
EFFECTS. 

That  different  music  produces  different  effects  no  one  will  doubt. 
Does  any  one  suppose  that  a  violin  would  have  the  same  effect  to 
inspire  ardor  and  courage,  to  rush  with  fury  to  the  battle-field,  as 
the  drum  or  trumpet  ?  Not  so.  The  sound  wouid  have  a  tend- 
ency to  calm  his  feelings  of  revenge.  So  the  same  music,  under 
different  circumstances,  would  have  a  different  effect.  What 
interest  would  a  band  of  martial  music  give  to  a  man  on  a  dying 
bed;  although,  when  in  health,  the  same  strains  would  have 
animated  him  ?  And  now,  music  and  words  that  spoke  of  a  Sav- 
iour, which,  perhaps,  in  health,  were  of  little  interest,  captivate 
,liis  soul. 

IN    THE   THEATRE. 

We  shall  not  enter  the  walls  of  the  theatre  to  inquire  into  the 
effects  of  music  there.  It  is  undoubtedly  very  effective ;  for  we 
presume  that  one-half  of  those  who  attend  such  performances  are 
enchanted  more  ])y  the  music  than  the  oratory,  and  the  theatre 
could  not  be  sustained  without  it.  It  is  ascertained  that  the 
money  paid  to  a  single  violin-player,  and  also  to  a  single  female 
singer,  annually,  would  support  eighty  missionaries  in  a  foreign 
land.  We  will  not  attempt  to  calculate  the  effects  of  the  thou- 
sands and  millions  of  black-faced  and  cloven- footed  notes  that  have 
been  strung  together,  and  hurried  out  of  sight  and  mind  almost  as 
rapidly  as  they  were  performed. 

CHURCH-MUSIC   OUTLIVES   OTHER   KINDS. 

But  we  may  well  contemplate  the  slower  and  more  solemn 
strains  of  music,  composed  for  the  church,  from  time  to  time,  which 
have  lived  to  affect  generation  after  generation,  and'  will  live 
while  time  lasts.     The  authors  of  such  music  as  "  Handel's  Ora- 


EFFECTS   OF   MUSIC.  221 

tOTio  of  the  Messiah,"  Haydn's  "  Creation,"  and  many  more,  must 
have  had  views,  and  feelings,  and  powers,  not  common  to  man ;  for 
even  the  instruments,  in  many  instances,  without  the  aid  of  words, 
seem  to  place  the  scene  before  you.  For  instance,  the  introduc- 
tion to  the  "  Creation,"  where  the  curious  combination  of  sound 
leads  the  imagination,  and  almost  the  eye,  into  drear  and  darkness, 
and  while  thick  darkness  broods  around,  growing  more  and  more 
dismal  every  moment,  and  you  can  almost  feel  darkness,  when 
the  following  words  and  music  occur,  "  God  said  let  there  be 
light !  "  what  a  change  !  Light  flashes  upon  your  imagination,  — 
darkness  vanishes,  and  all  around  you  is  changed  from  despair  to 
joy  and  astonishment.  It  is  such  muaic  as  this  that  affects 
the  better  feelings  of  the  soul,  and  is  to  be  found  alone  in  sacred 


EFFECT    OF    BAD    CONGREGATIONAL   SINGING. 

The  worst  of  music  is  that  which  Ls  almost  harmonious.  An 
attempt  to  make  music  by  a  promiscuous  congregation  is  some- 
times so  discordant  and  irregular,  and  perfectly  horrid,  as  to  lose 
its  effect  on  the  nerves  or  ear,  and  to  have  no  more  effect  than 
the  noise  in  the  streets.  A  gentleman  states  that  he  was  once 
invited  to  attend  a  meeting  at  a  church,  and  was  told  that 
the  singing  was  such  it  was  feared  he  would  not  be  able  to 
remain  in  the  house.  The  leader,  or  rather  the  man  appointed 
to  "  raise  the  tune,"  stood  in  front  of  the  pulpit.  Naming 
"  Shirland,"  for  the  first  tune,  it  occurred  to  him  that  he  was 
not  very  judicious  to  select  a  tune  with  a  duet  for  a  con- 
gregation to  sing.  He  found,  however,  although  he  had  pre- 
pared himself  for  the  worst,  that  he  was  not  disturbed  at  all. 
All  appeared  to  sing,  —  all  seemed  satisfied  with  their  own  and 
others'  singing.  Most  of  them  having  neither  skill  nor  judgment, 
their  voices  naturally  fell  into  or  towards  the  air  of  the  tune ; 
some  an  octave  aljove,  some  an  octiive  below,  the  pitch ;  some 
moved  up  and  down  a  few  notes,  when  not  necessary ;  some  took 
a  surer  w  ay  to  be  righk  occasjpnally,  by  keeping  on  a  straight 


222  EFFECTS  OP   MUSIC. 

line  through  the  tune,  and,  like  the  silent  clock,  were  sure  to  be  right 
now  and  then.     All  this  was  so  far  from  melody  or  harmony  thai* 
it  had  no  more  effect  on  the  ear  than  any  other  confused  noise ;  it 
only  amused  and  disgusted. 

GOOD    CONGREGATIONAL   SINGING. 

We  have  mentioned  an  extreme  case  of  uncultivated  congrega- 
tional singing,  void  both  of  melody  and  harmony.  We  will  now 
relate  another  instance  of  congregational  singing,  fitted  for  the 
church.  This  was  in  a  German  Lutheran  church,  in  a  west- 
ern city,  composed  principally  of  those  wlio  had  probably  been 
educated,  in  their  native  country,  not  only  to  read,  but  to  sing. 
The  galleries  were  constructed  with  long  seats,  so  that  the  rows  of 
young  men  and  women  seemed  unbroken  in  both  galleries.  We 
took  our  scat  in  the  organ  loft,  or  gallery  for  singers.  The 
organ  and  choir  commenced,  and  sung  a  sort  of  prelude,  or  intro- 
duction to  the  choral  or  chorus.  Then  the  whole  congregation  above 
and  below  joined,  singing  the  same  part  or  melody ;  nothing  being 
added  but  the  harmony  of  the  organ.  None  had  books  for  either 
words  or  tune,  —  all  sung  from  memory.  All  was  perfect  time  and 
tone,  not  a  discordant  voice  heard.  It  was  a  glorious  sound  ;  — 
we  say  sound,  for  the  language  was  unintelligible  to  us.  When 
they  had  closed,  and  we  had  time  to  catch  our  breath  and  unfix 
our  eyes,  we  found  ourselves  standing  some  ten  feet  forward  of  the 
place  where  we  took  our  seat ;  how  we  came  there  we  could  not 
tell,  for  we  were  not  conscious  of  having  moved. 

CONVENTION    OF   SINGERS. 

For  two  or  three  years  past  we  have  attended  the  rehearsals  of 
musical  conventions,  particularly  the  Boston  Academy,  when  four  or 
five  hundred  performers  were  present,  embracing  many  of  the  best 
singers  in  New  England.  All  placed  in  order,  they  rise,  they  sing. 
The  effect  on  the  sight  and  hearing  cannot  be  described,  because  it 
probably  hud  a  different  effect  on  different  minds  and  constitutions. 
It  was  grand,  it  was  sublime,  k  was  anunating,  —  unlike  any 


EFFECTS   OF   MUSIC.  '*  223 

other  earthly  entertainment.  \Vc  could  judge  somewhat  of  the 
feelings  of  the  diiferent  hearers  by  watching  their  countenances, — 
some  in  tears,  some  animated,  some  astonished,  with  every  limb 
and  muscle  fixed,  almost  breathless.  But,  astonishing  as  it  may 
seem,  some  few  appeared  perfectly  indifferent  to  the  scene  and 
sound ;  and,  with  an  air  of  levity,  with  their  quizzing-glasses, 
viewing  and  making  their  giddy  observations  on  individuals  among 
the  performers.  It  would  seem  that  none  but  those  possessed  of 
unfeeling  hearts,  leather  ears,  and  nerves  fitted  for  treason,  could 
have  heard  without  emotion,  and  being  reminded  of  the  employ- 
ment of  saints  above,  wheie  an  innumerable  multitude  shall  sing 
"  Worthy  is  the  Lamb,"  &c.  And  when,  at  the  close,  the  whole 
audience  were  requested  to  join  in  the  doxology,  the  most  giddy 
were  hushed.  This  was  "  congregational  singing,"  indeed ;  and 
the  multitude  of  teachers  and  trained  singers  reminded  one  of  the 
scene  on  the  steps  of  Solomon's  Temj)le.  The  only  annoyance  was 
the  tremendous  crash  of  the  organ,  in  some  instances;  when 
words  or  voices  were  overwhelmed  with  noise,  and  devotion  crushed 
beneath  the  sound. 

CONVENTION   OF    CHUIICHES. 

"Who  has  ever  attended  a  meeting  of  several  churches,  or  some 
religious  anniversary,  where  there  were  a  multitude  of  professors 
of  religion,  a  great  proportion  of  whom,  as  we  have  before  said, 
are  always  found  to  be  able  to  join  in  singing,  when  they  rise  and 
sing  a  hymn,  at  the  celebration  of  the  Lord's  supper,  and  has 
not  felt  the  power  of  sacred  music,  sung  with  both  the  spirit 
and  understanding  ?  How  many,  who  have  been  spectators  only, 
at  the  time,  have  felt  its  power,  and  lx)en  led  to  decide  that  it  v/as 
"  something  to  them,"  who  were  passing  by  ;  and  from  that  time 
realized  that,  unless  they  repented,  they  never  could  join  the 
angelic  host,  either  on  earth  or  in  heaven ! 


224  ^  EFFECTS  OF  MUSIC. 

ON   AN   INDIVIDUAL. 

In  an  adjoining  town  to  that  where  we  resided  when  young, 
we  used  to  hear  it  said,  as  a  matter  of  surprise,  at  that  time,  that 
Deacon  S.  had  singing,  morning  and  evening,  at  family  devo- 
tions. We  ever  had  a  strong  desire  to  see  the  man,  more  espec- 
ially as  he  was  represented  to  be  a  person  remarkably  fond  of 
music,  and  as  having  a  powerful  voice  to  sing  bass.  Aboift  fhe 
year  1814  he  called  on  us,  and,  after  introducing  himself,  said  his 
errand  was  to  request  the  favor  of  hearing  two  tunes  sung,  found 
in  a  book  called  "  Lock  Hospital,"  named  "  Reading  "  and  "  Wal- 
lingboro'."  The  tunes,  he  said,  he  had  never  found  any  one  that 
could  sing,  being  beyond  the  compass  of  his  voice.  He  had  a 
strong  desire  to  hear  the  words  and  music  together,  as  he  so  much 
admired  the  words  set  to  them.  Those  to  the  first  air  were  as 
follows :  — 

*'  Jesus,  my  Saviour,  in  tliy  face 
The  essence  lives  of  every  grace ; 
All  things  beside  that  charm  the  sight 
Are  sliatlows  tipt  with  glow-worm  light. 

"  Thy  beauty,  Lord,  th'  enraptured  eye. 
That  fully  views  it,  fii'st  must  die. 
Then  let  me  die,  through  death  to  know 
The  joy  I  seek  in  vain  below  ! ' ' 

"We  complied  with  his  request ;  and,  although  the  performance  at 
the  time  was  very  simple,  —  a  single  voice,  accompanied  by  a  vio- 
loncello,—  still,  those  who  were  present  noticed  the  tears  rolling 
down  his  cheeks ;  and  I  observed  it  was  a  long  time  before  he  had 
power  to  speak.  He  asked  no  more,  —  said  no  more,  but  left.  As 
he  left,  I  looked  at  him  for  the  last  time,  as  I  supposed.  About  ten 
years  afterwards,  however,  I  was  surprised  to  see  his  face  agaij]^ 
It  was  at  a  meeting  of  the  New  Hampshire  Musical  Society,  at 
Concord,  N.  H.  Before  this,  the  family,  and  those  voices  that 
iLsed  to  assist  him  in  singing,  had  scattered  and  left  him,  and  at 
this  time  he  was  accompanying  a  son,  a  clergyman  in  a  neighbor- 


EFFECTS  OF  MUSIC.  225 

ing  town.  Here  we  met  him  under  circumstances  still  more 
affecting  than  at  our  first  interview.  In  the  midst  of  the  power- 
ful anthem,  "  0  Lord  God  of  Israel,"  the  door  opened  into  the 
hull  where  we  were  rehearsing,  and  he  made  his  appearance.  We 
immediately  recognized  his  face  as  he  entered,  supported  by  a 
friend.  At  the  sudden  opening  of  the  door  and  the  burst  of  sound 
that  met  his  ear,  his  whole  frame  was  nearly  paralyzed,  his  whole 
man  trembled,  his  limbs  seemed  to  refuse  to  act,  and  he  appeared 
like  a  man  intoxicated,  which  created  a  smile  with  some.  Far 
otherwise  Tvith  us,  for  we  were  aware  of  the  cause,  and  never  shall 
we  forget  the  sensation  produced  at  the  time.  We  went  to  him 
and  gave  him  a  seat ;  and,  when  he  had  power  to  speak,  his  first 
words  were,  "  If  I  cannot  bear  the  combined  voices  of  a  hundred 
singers  here  on  earth,  am  I  prepared,  and  can  I  bear,  the  sound 
of  an  innumerable  multitude  of  voices  in  heaven,  where  I  soon 
hope  to  be  ?  "     He  died  at  Bradford,  1825. 

SINGING   OF   CUILDREN. 

What  more  affecting,  at  the  same  time  soothing  and  animating, 
than  the  singing  of  a  large  company  of  juvenile  performers  ?  And 
who  ever  attended  an  exhibition  of  the  singing  of  children,  and 
remained  unmoved,  where  a  hundred  misses  united  their  voices, 
perhaps  dressed  in  white,  emblem  of  innocence,  when  they  rise 
together,  and  sing  of  a  Saviour's  love  ?  Will  not  the  unsought 
tear  start  from  every  eye,  and  the  hearer  be  led  to  exclaim,  in  liis 
heart,  "  No  wonder  that  Christ  should  say,  *  Of  such  is  the  king- 
dom of  heaven !  '" 

THE   CLERQYMAN'S   FAMILY. 

The  effect  of  music  in  families,  we  have  said,  is  many  times 
wonderful.  It  is  a  common  observation  that  a  singing  family  is  a 
happy  family.  An  excellent  clergyman,  possessing  much  knowl- 
edge of  human  nature,  instructed  his  large  family  of  daughters  in 
the  theory  and  practice  of  music.  They  were  all  observed  to  be 
exceedingly  amiable  and  happy.     A  friend  in([uired  if  there  was 


226  EFFECTS  OF   MUSIC. 

any  secret  in  his  mode  of  education.  He  replied,  "  When  any- 
thing disturbs  their  temper,  I  say  to  them,  sing ;  and  if  I  hear 
them  speaking  against  any  person,  I  call  them  to  sing  to  me ;  un- 
til they  have  sung  away  all  causes  of  discontent,  and  every  dispo- 
sition to  scandal."  Such  a  use  of  this  accomplishment  might  serve 
to  fit  a  family  for  the  company  of  angels.  Young  voices  around 
the  domestic  altar,  breathing  sacred  music  at  the  hour  of  morn- 
ing and  evening  devotion,  are  a  sweet  and  touching  accompaniment. 
As  a  proof  that  music  has  a  tendency  to  soften  and  put  to  rest 
discordant  feelings,  we  will  mention  the  following  incident :  It  is 
well  known,  by  every  teacher  of  common  grammar-schools,  that  it  is 
not  unusual  for  the  scholars,  as  soon  as  set  at  liberty,  to  indulge 
in  some  angry,  exciting  words,  and  from  words  sometimes  come  to 
blows.  But,  in  the  numerous  schools  where  we  have  attempted  to 
teach  singing,  we  never  saw  an  instance  of  any  contention  while 
in  the  atmosphere  or  in  sight  of  the  school-room. 

ON   PREACHERS   OF   THE   GOSPEL. 

Notwithstanding  the  apathy  that  has  prevailed  among  the 
clergy  in  regard  to  singing,  we  have  reason  to  believe  that  dis- 
cordant music  unstrings  and  unfits  them  for  devotional  duties. 
Many  a  one  has  had  the  same  feelings  as  he,  who  after  hearing  a 
hymn  horribly  murdered,  read  another  as  soon  as  they  had  closed 
it,  saying,  "  Try  again ;  it  is  impossible  to  preach  after  such  sing- 
ing." "  Bad  singing,"  says  one,  "  makes  an  open  wndow  for  the 
preacher's  instructions  to  escape ;  and  many  hearers  will  escape  from 
the  door  of  a  church,  where  the  singing  is  bad,  while  good  singing 
will  make  a  cheerful  minister,  and  attract  a  good  congregation." 

OF   A  SINGLE   VOICE. 

We  will  mention  an  instance  of  the  effect  of  a  single  voice. 
A  preacher  in  Vermont,  having  occasion  to  officiate  in  a 
neighboring  town,  related  the  following  incident  of  the  day: 
"  When  he  entered  the  church,  all  was  dreary  and  cold.  The 
wind  howled,  loose  clapboards  and  windows  clattered.     The  pulpit 


EFFECTS   OF   MUSIC.  227 

stood  high  above  the  first  floor ;  no  stove ;  but  hero  and  there  an 
individual  in  the  church,  and  those  few  pounding  their  feet  and 
hands  to  keep  from  freezing.  He  thus  soliloquized  with  himself: 
'  Can  I  preach  ?  What  use  can  it  be  ?  What  shall  I  do  ?  Can 
those  two  or  three  singers  in  the  gallery  sing  the  words,  if  I  read  a 
hymn  ? '  I  concluded  to  make  a  trial,  and  read  the  hymn,  '  Jesus, 
lover  of  my  soul.'  They  commenced,  and  the  sound  of  a  single 
female  voice  has  followed  me,  with  an  indescribable  pleasing  sensa- 
tion, ever  since,  and  probably  will  while  I  live.  The  voice,  intona- 
tion, articulation  and  expression,  seemed  to  me  perfect.  I  was 
warmed  inside  and  out,  and  for  the  time  was  lost  in  rapture.  I 
had  heard  of  the  individual  and  voice  before ;  but  hearing  it  in 
this  dreary  situation  made  it  doubly  grateful.  Never  did  I  preach 
with  more  satisfaction  to  myself.  And  from  this  incident,"  says 
he,  "  I  learned  an  important  lesson :  never  to  be  disheartened  from 
seemingly  unfivorable  appearances,  but,  where  duty  calls,  go  to 
work  cheerfully,  without  wavering." 

THE  nobleman's  DAUGHTEK. 

A  nobleman  of  great  wealth,  whose  pleasure  was  drawn 
from  his  riches,  his  honors  and  friends,  had  a  daughter,  who  was 
the  idol  of  his  heart.     She  was  highly  accomplished,  amiable  in 

her  disposition,  and  winning  in  her  manners.  At  length.  Miss 

attended  a  Methodist  meeting,  in  London,  was  deeply  awakened, 
and  soon  happily  converted.  Afterwards,  to  her  the  charms  of 
Christianity  were  overpowering.  The  change  was  marked  by  her 
fond  father  with  great  solicitude,  and  was  to  him  occasion  of  deep 
grief.  He  took  her  on  long  and  frequent  journeys,  attended  her  in 
'  the  most  engaging  manner,  in  order  to  divert  her  mind  from  reli- 
gion ;  but  she  still  delighted  in  the  Saviour.  After  failing  in  all  his 
projects,  he  introduced  her  into  company  under  such  circumstances 
that  she  must  either  join  in  the  recreation  of  the  party,  or  givo 
high  offence.  Hope  lighted  up  the  countenance  of  the  infatuated 
but  misguided  father,  as  he  saw  his  snare  alx)ut  to  entangle  in 
its  meslies  the  object  of  his  solicitude.     It  had  been  arranged 


228  EFFECTS   OF   MUSIC. 

among  his  friends  that  several  young  ladies  should,  on  the  ap- 
proaching festive  occasion,-  give  a  song,  accompanied  by  the  piano- 
forte. The  hour  arrived,  —  the  party  assembled.  Sevei-al  had 
performed  their  parts  to  the  great  delight  of  the  party,  who  were 

in  high  spirits.     Miss was  now  called  on  for  a  song,  and 

many  hearts  beat  high,  in  hope  of  victory.  Should  she  decline, 
she  was  disgraced.  Should  she  comply,  their  triumph  wa.s  com- 
plete. This  was  the  moment  to  seal  her  fate.  "With  perfect  self- 
possession,  she  took  her  seat  at  the  pianoforte,  ran  her  fingers  over 
its  keys,  and  commenced  playing  and  singing,  in  a  sweet  air,  the 
following  words : 

*'  No  room  for  mirth  or  trifling  here. 
For  worldly  hope  or  worldly  fear, 

If  life  so  soon  is  gone  ; 
If  now  the  Judge  is  at  the  door, 
And  all  mankind  must  stand  before 

The  inexorable  Judge. 

"  No  matter  which  my  thoughts  employ, 
A  moment's  misery  or  joy  ; 

But,  0,  when  both  shall  end, 
Where  will  I  find  my  destined  place  ? 
Shall  I  my  everlasting  days 

With  fiends  or  angels  spend  ? ' ' 

She  arose  from  her  seat.  The  whole  party  was  subdued.  Not 
a  word  was  spoken.  ,  Iler  father  wept  aloud.  One  by  one  they 
left  the  house.  Lord never  rested  till  he  became  a  Chris- 
tian. He  lived  an  example  of  Christian  benevolence,  having  given 
to  benevolent  Christian  enterprises,  at  the  time  of  his  death,  nearly  i 
half  a  million  of  dollars. 


ON    TUE   BED    OF    DEATH. 

Music  retains  its  place,  and  soothes  and  smooths  the  dying  pillow, 
when  every  other  comfort  fails.  And  we  may  ask,  whore  have  appro- 
priate words,  sung  in  sweet  harmony,  ever  made  a  more  plcaaing 


EFFECTS   OF   MUSIC.  229 

and  lasting  effect  than  in  the  chamber  of  the  dying  ?  Ah  !  let  us 
go  one  step  further,  —  who  ever  erased  from  his  memory  the  voico 
of  the  dying  saint,  just  on  the  brink  of  Jordan,  seeming  to  be  in 
full  view  of  heaven  ;  the  voice,  as  it  were,  heard  here,  but  the  soul 
so  near  its  rest  and  joy,  that  we  could  imagine  but  a  quaver-rest 
between  the  last  sound  here  and  its  magnetic  transfer  to  mingle 
with  the  purer  music  of  the  redeemed  in  heaven ! 

Where  did  ever  music  wake  the  tender  emotions  of  the  soul 
more  effectually  than  the  singing  of  a  hymn  at  the  funeral  of  a 
departed  saint  ? 

IMPORTANCE  OF  MUSIC  IN  THE  WORLD. 

We  have  been  attempting  to  describe  music  as  connected  with 
sacred  words,  and  for  sacred  purposes.  But  when  we  reflect  on 
the  import  of  the  word  music  in  its  widest  extent,  we  find  we 
have  given  but  a  meagre  description  of  the  subject.  We  may  well 
wonder  and  admire  when  we  contemplate  how  we  are  surrounded 
with  music  of  every  kind,  to  help  and  cheer  us  through  this  world 
of  discord  and  sorrow.  Of  this  we  think  but  little,  because  we 
hear  it  constantly.  It  is  true  there  are  a  few  sounds  to  be  heard 
void  of  music,  grating  or  unpleasant  to  the  ear,  such  as  the  howl- 
ing of  savage  beasts,  the  shriek  of  fear,  or  the  groans  of  the  dis- 
tressed. These  remain  evidently  to  remind  us  of  the  effects  of  sin. 
Stop  the  music  of  the  rustling  leaf,  the  gurgling  brook  and  the 
singing  birds,  and  how  lonely  and  dismal  would  be  the  pathway  of 
those  who  seek  for  pleasure  in  traversing  valleys,  hills  and  moun- 
tains !  Deprive  the  ploughman,  the  mechanic  or  the  housemaid,  of 
the  privilege  of  singing,  how  would  the  hours  of  labor  be  length- 
ened and  made  tedious !  Suffer  not  the  sound  of  an  instrument  to 
lead  the  way  and  direct  the  steps  of  the  civil,  political  or  centen- 
nial procession,  and  how  disorderly  and  ridiculous  their  movement ! 
When  the  word  "  Forward,  march  !  "  is  given  to  a  company,  a 
regiment  or  an  army,  of  well-trained  soldiers,  without  the  sound  of 
music,  how  soon  is  animation  fled !  Let  them  be  summoned  to  the 
battle-field,  and  no  sound  of  drum  or  trumpet  near,  how  soon  will 
20 


EFFECTS  OF   MUSIC. 

courage  falter  and  steps  grow  tardy,  unless  some  hideous  yell  is 
substituted !  Take  the  viol  and  the  song  from  places  of  amusement, 
especially  the  theatre,  and  how  few  would  go  thither  !  At  all  fam- 
ily and  social  gatherings,  what  an  important  item  is  music  !  The 
natural  propensity  of  man  is  to  seek  and  find  pleasure  in  all  these 
situations  and  changes.  Let  it  be  said  and  known  that,  from  this 
time,  henceforth,  music  should  be  no  more  on  earth,  what  a  gloom 
would  spread  throu«^h  the  world !  But,  when  we  view  music  in  its 
noblest  light,  given  by  God  for  the  purpose  of  enkindling  devotion 
in  the  breasts  of  those  who  worship  him,  and  sing  the  song  of  re- 
deeming love  here  on  earth,  we  shudder  at  the  thought  of  its  being 
hushed !  In  a  word,  blot  out  music  from  the  face  of  the  earth,  and 
you  blot  out  half  that  makes  life  desirable. 

Happy  would  be  the  result,  for  all  who  are  engaged  in  compos- 
ing or  in  the  performance  of  sacred  music^  if  they  could  say, 
with  Haydn,  when  asked  by  a  friend  why  his  church  music  was 
always  so  cheerful.  "  I  cannot,"  said  he,  "  make  it  otherwise ;  I 
write  according  to  the  thoughts  I  feel.  "When  I  think  on  God, 
my  heart  is  so  full  of  joy,  that  the  notes  dance  and  leap,  as  it 
were,  from  my  pen ;  and  since  God  has  given  me  a  cheerful  heart, 
it  will  be  pardoned  me  that  I  serve  him  with  a  cheerful  and  devout 
spirit." 


APPENDIX. 


LIST  OF  BOOKS. 


LIST  OP  COLLECTIONS  OF  SACRED  MUSIC,  FOR  SCHOOLS  AND  CnURCHES, 
IN  TUE  UNITED  STATES,  SINCE  THE  YEAR  1810. 

In  1764,  Josiah  Flagg,  of  Boston,  as  we  have  before  mentioned, 
apologized  to  the  public  for  introducing  a  New  Book,  there  having 
been,  as  he  said,  two  or  three  published,  within  the  last  fifty  years. 
Unlike  modem  times.  The  numerous  sacred  music  books  for  the 
church,  to  say  nothing  of  books  of  select  music,  anthems,  secular 
music,  etc.,  which  have  been  published  mtliin  the  last  twenty  years, 
"without  any  apology,  prove,  at  least,  that  an  increased  attention  has 
been  paid  to  the  subject,  by  the  public  generally. 

Only  such  works  as  contain  three  hundred  pages  and  upwards  aro 
referred  to  in  this  list. 

Ancient  Harmony  Revived;   selected  chiefly  from  American 

authors;  Billings,  &c., 1840 

Aikin,  J.  B.,  Church  Minstrel,  Philadelphia,  patent  notes,         1847 
Billings  &  Ilolden  Society's  Collection,  by  a  committee,  D. 

Copeland  chairman,       .......         183G 

Bridgewater  Collection  of  Church  ^lusic,  —  afterwards  as- 
sumed the  name  of  Tcmpli  Carmina,  or  Songs  of  the  Tem- 
ple, —  published  from  year  to  year,  edited  occasionally  by 
Brown,  Mitchel  and  Holt,  onward  from      .         .         .         .     1812 

Belcher,  S.,  Harmony  of  Maine, 1830 

I^sell,  T.,  Boston  Sacred  Harmony, 184G 

Baker,  B.  F.,  and  I.  B.  Woodbury,  Boston  Musical  Education 

Society's  Collection, 1842 

Baker,  B.  F.,  and  Southard,  Haydn  Collection  of  Church 

Music, 1850 

Baker,  B.  F.,  A.  N.  Johnson,  and  J.  Osgood,  Melodia  Sacra,     1852 
Barrett  &  Coleman,  Christian  Psalmody,  New  Hampshire,     .     1832 
Comer,   Boston    Musical    Institute's  Collection   of   Church 
Music, 1841 


232  APPENDIX. 

Cole,  J.,  The  Seraph,  Baltimore,  .        .        .        .         .  1846 

Cooper,  Wm.,  Beauties  of  Music, 1800 

Carden,  Allen  D.,  Missouri  Harmony,  patent  notes,      .        .  1827 

Day,  H.  W.,  David's  Harp, 1842 

(  Day  &  Beals,  Numeral  Harmony,  or  Sight  Sin^ng,   .         .  1846 
<  Day  &  Bcals,  One  Line  Psalmist,  —  both  printed  in  numer- 

(      als,  instead  of  notes, 1849 

Dyer,  S.,  New  York  Collection  of  Church  Music,  .         .         .  1828 

"        Philadelphia      "         u       u  *'    .         .         .  1827 

Dutton  &  Ives,  American  Psalmody,  or  Hartford  Collection,  1829 

Emerson,  L.  0.,  and  T.  M.  Dewey,  Romberg  Collection,        .  1852 

Fitz,  Asa,  Congregational  Singer, 1848 

Gould,  N.  D.,  Social  Harmony, 1822 

"         "       National  Church  Harmony,  .         .         .  1832 

"  *'       Sacred  Minstrel, 1840 

Greatorex,  H.  W.,  Collection  of  Church  Music,  Hartford,  .  1851 

Hastings,  Thomas,  Manhattan  Collection,  New  York,    .         .  1836 

Hastings  &  Bradbury,  The  Psahnodist,      ....  1845 

"  "  New  York  Choralist,  .         .         .         .  1847 

"  "  Mendelssohn  Collection,  .         .  1849 

"  "  The  Psahnista, 1851 

Hamilton  "  Songs  of  Sacred  Praise,   .        .        .  1845 

Ives,  E.,  Mozart  Collection, 1846 

Jones,  Abn6r,  Melodies  of  the  Church,  New  York,     .        .  1832 
Jones,  E.,  Temple  Melodies,                         "...  1840 
Johnson,  A.  N.,  Josiah  Osgood,  and  S.  Hill,  Bay  State  Collec- 
tion,       1849 

Kingslcy,  Sacred  Choir, 1839 

Locke  and  Nourse,  School  Vocalist,  Cincinnati,  Oliio,  .  1848 

Muenschcr,  Joseph,  Church  Choir,  Columbus,      '*        .         .  1840 

Mansfield,  Rev.  D.  II. ,  American  Vocalist,         .        .        .  1849 

Moore,  Henry  E.,   New  Hampsliiro  Collection  of  Church  * 

Music, 1834 

Marshall,  Leonard,  The  Antiquarian,  ....  1849 
Marshall,  L.,  and  II.  N.  Stone,  The  Harpsichord,  .  .  1852 
Mason,  T.  B.,  Ohio  Sacred  Harp,  patent  notes,  .  .  1834 
"  "  "  "  round  "  Vol.  L,  .  1836 
Maaon,  Lowell,  Ed.  Boston  Handel  &  Haydn  Society's  Col- 
lection of  Church  Music,        1822 


APPENDIX.  233 


Mason,  Lowell,  The  Choir, 


1833 


"           "       Boston  Academy's  Collection,        .         .         .  1835 

**           "       The  Modern  Psalmist,       .         .         .         .  1820 

"     *     "       Carmiua  Sacra,  or  Boston  Collection,    .         .  1841 

"           "       The  Psaltery, 1848 

"            "        Cantica  Laudis, 1850 

**            "        New  Carmina,                    ....  1850 

Mason  &  AVel)b,  National  Psalmist,       .         .         .         .         .  1849 

Nash,  W.,  Sacred  Harmony,  Ohio, 183G 

Paine,  David,  Editor  of  the  Portland  Sacred  Music  Society's 

Collection  of  Church  Music,  Elaine,             ....  1839 
Palmer,  James  W.,  Western  Ilarmonia  Companion,  patent 

notes,  Ohio, 1832 

Paine  &,  Edward  Ilowe,  Eastern  Lyre,  Maine. 

Snyder,  "NVm.  B.,  and  W.  L.  Chapell,  AN^cstern  Lyre,  patent 

notes, 1831 

Standbridge,   J.   IL   C,   and  AV.   II.   W.  *Darley,   Cantus 

Ecclesia3,  Philadelphia, 1844 

Stoughton  Collection,  by  Stoughton  Musical  Society,      .         .  1828 
Sweetser,  Benjamin,  Jr.,  Ed.  of  Cumberland  Collection  of 

Church  Music,  Maine, 1839 

Taylor,  V.  C,  Sacred  Minstrel,  Hartford,  Conn.,  .         .         .  1848 

«'      Golden  Lyre, 1850 

Tuckerman,  S.  P.,  S.  A.  Bancroft,  and  II.  K.  Oliver,  National 

Lyre, '     .         .  1849 

Village  Harmony,  published  at  Exeter,  N.  II.,  from  1809  to  1819 

Webb,  G.  J.,  Massachusetts  Collection,     ....  1840 

Whittemore,  Rev.  Thomas,  Songs  of  Zion,     ....  1836 

"              "          "        Gospel  Harmonist,  .         .         .  1841 

Warriner  imd  Hastings,  Musica  Sacra,  Utica,  N.  Y.       .         .  1822 
Worcester  Collection,  commenced  1791,  published  to  1812; 

last  editions  edited  by  Oliver  Holden. 

Willis,  R.  S.,  Church  Chorals,  New  York,          .         .         .  1850 

White,  E.  L.,  and  J.  E.  Gould,  Ilarmonia  Sacra,  .         .         .  1851 

"          "       Boston  Melodeon, 184G 

Wainwright,  Rev.  Dr.,  Music  of  the  Church,  New  York,        .  1828 

"                  "        Psalmodia  Evangelica,     .         .         .  1838 

Woodbury,  I.  B.,  The  Dulcimer, ^49 

Willis,  Rol)ert,  Lexington  Cabinet,  Kentucky,  patent  notes,  1834 
20* 


234  APPENDIX. 


INTRODUCTION  OF  JUVENILE  SD^GING-SCHOOI^. 

A  very  important  era  in  the  history  of  music  in  America  is  to  be 
found  in  the  introduction  of  vocal  music  in  juvenile  schools  for  that 
purpose,  and  into  the  public  grammar-schools.  Although  it  is  not 
exactly  to  be  classed  with  the  history  of  church  music,  yet  it  is  so 
intimately  connected  with  its  rise  and  progress,  that  we  feel  justified 
in  giving  a  brief  account  of  the  manner  in  wliich  so  desirable  an 
object  was  commenced  and  accomplished  as  that  of  teaching  the 
yoimg  the  theory  and  practice  of  music. 

The  writer  is  constrained  to  say,  that  if  he  has  any  one  thing 
more  than  another  that  he  can  look  back  upon  vrith  satisfaction, 
during  a  long  life,  it  is  the  fact  that  he  was  the  first  to  introduce 
the  teaching  of  children  to  sing.  His  first  juvenile  schools  were  in 
Boston,  CamlDridge  and  CharlestoAvn,  in  the  year  1824.  After 
teaching  three  or  four  years,  L.  Mason,  Esq.,  came  to  Boston,  com- 
menced teaching  on  a  small  scale  at  first,  but  soon  opened  a  free 
school,  under  the  patronage  of  men  of  influence,  but  more  especially, 
after  1833,  of  the  "  Boston  Academy  of  Music,"  where  hundreds  of 
children  flocked  together,  Avith  eager  steps,  to  profit  by  liis  superior 
talent  for  teaching.  His  instructions  and  public  exhibitions,  in 
addition  to  what  had  been  done  before,  satisfied  the  public  that  sing- 
ing was  not  only  a  pleasing  but  profitable  exercise  for  the  young. 
The  writer  at  the  same  time  commenced  similar  labors  in  other  cities 
in  New  England,  New  York,  and  New  Jersey. 

In  August,  1836,  a  memorial  was  presented,  by  the  "  Boston 
Academy  of  Music,"  to  the  School  Committee  of  the  city  of  Boston, 
praying  that  singing  might  be  introduced  as  an  exercise  in  the  pub- 
lic schools,  wliich  was  submitted  to  a  select  committee.  The  entire 
report  of  that  committee  would  be  worthy  of  the  perusal  of  the  pub- 
lic, as  a  document  full  of  instruction  in  regard  to  juvenile  singing. 
But  we  must  content  ourselves  with  making  a  few  extracts.  The 
experiment  had  been  tried  in  tlie  Ilawcs  School,  South  Boston,  in 
1837,  and  the  next  year  in  the  Hancock,  EUot,  Johnson,  and  Ilawes, 
by  Mr.  Mason ;  and  not  only  in  these  schools,  but,  by  the  same 
gei^eman,  in  the  most  respectable  private  schools  in  Boston. 
N^F  appeared  to  be  a  favorable  time  to  present  the  memorial  afore- 
said.   "VVe  say  flivorable,  and  it  was  doubly  so ;  for  not  only  were 


*  APPENDIX.  235 

the  public  satisfied  in  regard  to  tho  utility  of  such  instruction,  but 
the  active  and  energetic  Samuel  A.  Eliot,  a  man  fully  appreciating 
the  enterprise,  was  at  the  head  of  the  city  government,  and,  at  tho 
same  time,  also  of  the  Boston  Academy. 

*'  Music  has,  in  popular  language,  too  generally  been  regarded  as 
belonging  solely  to  the  upper  air  of  poetry  and  fiction. 

"  There  is  a  three-fold  standard  by  which  education  itself  may  be 
tried.  —  Is  it  intellectual?  Is  it  moral?  Is  it  physical?  Among 
the  seven  liberal  arts  which  scholastic  ages  regarded  as  pertain- 
ing to  humanity,  music  had  its  place.  It  is  not  ornamental 
merely.  It  may  be  made,  to  some  extent,  an  intellectual  discipline. 
Try  music  morally.  There  is  —  who  has  not  felt  it  ?  —  a  mysterious 
connection,  ordained,  undoubtedly,  for  wise  purposes,  between  cer- 
tain sounds  and  the  moral  sentiments  of  man.  The  natural  scale  of 
musical  sound  can  only  produce  good,  virtuous,  and  kindly  feelings, 
besides  happiness,  contentment,  and  cheerfulness.  Now  try  music 
physicalli/.  An  American  physician  says  '  that  the  exercise  of  the 
organs  of  the  breast,  by  singing,  contributes  very  much  to  defend 
them  from  those  diseases  to  which  the  climate  and  other  causes  ex- 
pose them.'  Roger  Ascham,  the  famous  schoolmaster  and  scholar 
of  the  Elizabethan  age,  holds  this  language  :  '  All  voices,  great  and 
email,  base  and  shrill,  weak  or  soft,  may  be  holpen,  and  brought  to 
a  good  point,  by  learning  to  sing.'  'Recreation,'  says  Locke,  'is 
not  being  idle,  but  easing  the  weary  part  by  change  of  business.' 
Vocal  music  seems  exactly  fitted  to  afford  that  alteration.  Another 
consideration  :  —  liow  naturally  and  how  beautifully  vocal  music  is 
calculated  to  mingle  with  the  devotion,  at  the  opening  of  the  school ! 
It  is  oltjected,  that  we  aim  at  that  which  is  impossible  ;  that  singing 
depends  on  a  natural  ear  for  music.  We  doubt  not  that  in  this,  as 
in  all  other  branches  of  education,  nature  bestows  the  aptitude  to 
excel  in  different  degrees  ;  but  we  are  told  by  a  celebrated  teacher, 
that  out  of  four  thousand  pupils,  not  an  individual  had  been  found 
Avho  could  not  be  tauglit  to  sing.  Music  is  itself  a  discipline  of  tho 
highest  order,  —  a  subordination  of  mind,  eye  and  ear,  unitedly 
tending  to  one  olyect.  ^Melody  is  concerted  action  ;  and  is  discipline 
aught  else?  'Where  music  is  not,  the  devil  enters,'  is  a  familiar 
German  proverb.  In  answer  to  those  who  object  on  account  of  its 
being  a  newly-fashioned  notion,  an  innovation,  etc.,  they  answer, 
What  wc  propose  was  old  three  hundred  years  before  tho  Chris- 


236  APPENDED. 

tian  era.  An  initiation  into  the  elements  of  music  at  school,  in  the 
opinion  of  your  committee,  seems  best  fitted  to  direct  the  feelings 
and  amusements  of  the  young.  'Music,'  says  a  German  writer, 
*is  the  gymnastics  of  the  affections.'  Music,  and  the  love  of  it, 
may  be  perverted ;  who  knows  it  not  ?  Guard  it,  therefore  ;  guide 
it ;  lead  it  into  the  right  channel.  Let  all  parents  understand  that 
every  pure  and  refined  pleasure  for  which  a  child  acquires  a  relish 
is,  to  that  extent,  a  safeguard  against -a  low  and  abasing  one.  Once 
introduce  vocal  music  into  the  common  schools,  and  you  thereby 
make  it  what  it  should  be  made,  the  property  of  the  whole  people. 
Music  is  allied  to  the  highest  sentiments  of  man's  moral  nature,  — 
love  of  God,  love  of  country,  love  of  friends.  From  this  place  first 
went  out  the  great  principle,  that  the  property  of  all  should  be  taxed 
for  the  education  of  all.  From  this  place,  also,  may  the  example  in 
this  country  first  go  forth  of  that  education  rendered  more  complete 
by  the  introduction,  by  public  authority,  of  vocal  music  iiito  our  sys- 
tem of  popular  instruction." 

The  resiilt  of  the  action  on  this  memorial  was  so  favoral)le,  that 
in  the  fiill  of  1838  all  the  pubUc  schools  of  the  city  were  placed 
under  the  instruction  of  Lowell  ^lason,  Esq.,  he  being  authorized  to 
employ  such  assistance  as  he  pleased.  This  arrangement  continued 
for  six  or  seven  years,  to  the  satisfaction  of  all  concerned. 

The  following  named  gentlemen  were  employed  as  assistant-teach- 
ers :  B.  F.  Baker,  A.  N.  Johnson,  I.  B.  Woodbury,  George  Root, 
J.  Osgood,  and  Albert  Drake. 

Li  1845,  B.  F.  Baker  was  appointed  to  take  the  place  of  ^Ir. 
Mason.  In  1846,  7,  8,  and  9,  the  schools  were  equally  divided 
between  Mr.  Mason  and  Mr.  Baker. 

In  1850-1,  the  following  persons  were  employed  as  teachers,  by 
different  committees,  to  teach  such  schools  as  were  assigned  them, 
namely,  Lowell  Mason,  B.  F.  Baker,  Albert  Drake,  L.  H.  Southard, 
Eben  Bruce,  A.  N.  Jolmson,  S.  Swan,  J.  C.  Jolmson,  W.  Pratt,  and 
John  W.  Adams. 

We  have  been  thus  particular  in  the  foregoing  history  of  the  intro- 
duction of  singing  into  the  public  schools  in  Boston,  because  they 
were  the  first  in  America  to  try  the  experiment ;  and,  as  Mr.  Mason 
says,  in  his  Address  on  Church  Music  in  1851,  "The  example  has 
been  followed  far  and  wide ;  so  that  now  music  is  taught  in  many 
of  the  public  schools  throughout  the  Union.    The  result  already  is, 


APPENDIX.  237 

that  a  multitude  of  young  persons  have  been  raised  up  who,  to  say 
the  least,  are  much  better  able  to  appreciate  and  perform  music  than 
were  their  fathers."  About  the  same  time,,  in  like  manner,  singing 
was  introduced  in  New  York,  by  T.  Hastings,  and  in  Cincinnati,  O., 
by  T.  B.  Mason. 

The  foregoing  committee  further  say,  "  Let  it  mingle  with  reli- 
gion, with  labor,  with  the  home-bred  amusements  and  enjoyments  of 
life.  Let  it  no  longer  be  regarded  merely  as  the  ornament  of  the 
rich.  Still  let  it  adorn  the  abodes  of  wealth,  but  let  it  also  light  up 
with  gladness  the  honest  hearth  of  poverty." 

It  may  be  asked,  especially  by  those  who  have  opposed  the  move- 
ment, What  good  has  resulted  from  this  attempt  at  universal  instruo- 
tion  in  music  ?  The  general  good  influences  are  so  obvious  that  we 
shall  add  nothing  to  what  has  been  already  said.  But  it  must  be 
confessed  that,  in  reference  to  the  music  in  churches,  it  has  not  fully 
answered  the  sanguine  expectations  entertained  by  its  friends.  A 
whole  generation  has  now  been  trained  in  the  public  schools,  and 
are  probably  the  regular  attendants  of  some  religious  society,  and 
we  should  reasonably  expect  that  by  this  time  whole  Sabbath- 
schools  and  congregations  would  l)e  qualified  and  inclined  to  unite 
in  the  musical  senice.  But  not  only  are  Ave  not  yet  prepared  for 
congregational  singing,  but  we  think  it  will  be  found  that  the  num- 
ber of  singers  attached  to  the  choirs  has  actually  diminished.  The 
long-trained  members  have  withdrawn  on  accoimt  of  age,  or  the 
plausible  excuse  that  they  have  done  their  part,  —  a  most  preposter- 
ous idea  concerning  an  act  of  worship,  —  and  their  places  have  not 
been  made  good  by  accessions  from  the  young.  We  apprehend  that 
a  satisfactory  reason  for  this  may  be  found  in  the  almost  exclusively 
juvenile  and  secular  character  of  the  music  taught  in  schools.  This 
is  doubtless  in  a  great  measure  appropriate  and  necessary  ;  but,  at 
the  same  time,  if  a  due  proportion  of  the  time  were  spent  in  the 
practice  of  psalmody^  a  very  different  result  would  prol)ably  follow. 

The  desire  of  all  the  friends  of  order  and  religion  is,  that  the 
voices  of  a  generation  may  l)e  so  taught  to  sing,  that  whole  congre- 
gations, when  met  to  worship  God,  may  rise  and  praise  God  with 
one  heart  and  one  voice. 


238 


APPENDIX. 


THE  AUTHOR'S  SCHOOLS. 

At  the  urgent  solicitation  of  interested  friends,  the  author  con- 
sents to  furnish  a  list  of  the  schools  that  he  has  taught.  It  may- 
savor  somewhat  of  egotism,  but  he  trusts  that  it  will  be  a  gratifying 
reminiscence  to  those  who  have  been  members  of  the  schools,  number- 
ing not  less  than  fifty  thousand.  It  will  also  show  that  he  has  not 
been  a  mere  compiler,  but  a  busy  actor  in  the  scenes  he  has  described  ; 
and  more  especially  will  it  show  how  early  and  how  extensively  he 
was  engaged  in  the  establishment  and  promotion  of  juvenile  singing- 
schools,  since  the  schools  enumerated  were,  in  most  instances,  the 
first  that  were  taught  in  the  several  places  mentioned.  In  addition 
to  the  list  of  schools,  he  may  be  permitted  to  state  that  he  has  pre- 
sided over  nineteen  regularly  organized  Singing  Societies. 


SCHOOLS.                                           LOCATION,  PARISHES,  AND  CLERGYMEN. 

YEAR. 

Adult,        Stoddard,  N.  II.,  Rev 

.Mr. 

Colton, 

1799 

*'            Mason  Village,  Centre,  N. 

H.,  Rev.  Mr.  : 

Hill, 

1800 

«'            New  Ipswich,  N.  H., 

Rev. 

Mr.  Farrar, 

1804, 

,  7,  10,  12 

((                                             U                                 (( 

ki 

''     Hall, 

1815,  16,  17 

((                                     u                           u 

u 

"     Walker, 

1823 

""   and  Juvenile,  Centre,  &c.. 

(( 

"     Lee, 

1838-9 

"              Greenfield, 

u 

"     Merrill, 

1801,  12 

"     and  Juvenile, 

(( 

"     Jones, 

1839 

Adult,        Peterboro', 

u 

"     Dunbar, 

1803 

"     and  Juvenile, 

1838,  39 

Wilton, 

Rev. 

,  Mr.  Beede, 

1805,  10 

"             ToA\Tisend,  Mass., 

(( 

"     Palmar, 

1806,  12 

"     and  Juvenile,        " 

ii 

"     Stowell, 

1839 

Adult,        Pepperell,      " 

a 

"     Bullard, 

1807 

Juvenile,           *' 

(( 

"     Howe, 

1839 

Adult,        Brookline,  N,  II., 

(( 

"     Wadsworth, 

1819 

*'             Phillips tovs-n,  Mass., 

(( 

"     Bascom, 

1814 

"             Temple,  N.  H., 

it 

"     Miles, 

1809 

"     and  Juvenile,    " 

(( 

'<■     Jewett, 

1839 

Adult,        Lyndeboro'  N.  H., 

(( 

"     MerriU, 

1808 

((                    it              (( 

(( 

((                 u 

1810 

"            Groton,  Mass., 

(( 

Dr.  Chaplin, 

1814 

APPENDIX. 


239 


LOCATION,  PARISHES,  AXD  CI.ERGTMKJJ. 


Juvenile,    Groton,  Mass.,  Rev.  Mr.  Phelps,  1839 

Adult,        Boston,  private  schools,  1820  to  1831 

"       Park-street  Church,  Rev.  Mr.  Dwight,  1819  to  '26 


"      "    Greene,  1822 

"      "    Greenleaf,  1828 

"      "    Edwards,  1829 

•'      "    Malcom,  1832 

"      *'    Sharp,  1826 

(Methodist),  1826 

(Catholic),  1827 

Rev.  Dr.  Beecher,  1826 

"     Mr.  Pierpont, 

"      "    Potter,  1830 

Adult,        Cainbridgeport,  Mass.,                "      "    Gannett,  1819 

"                    "      "    Jacobs,  1819 

or  Juvenile  (private  schools),             1819, 1820, 1821,  1824 

Juvenile,    Cambridge  (private  schools).   Rev.  Dr.  Holmes,  1825 

Adult,                "           College  (students),  1821 

"               "         (resident  graduates) ,  1825 

West  Cambridge,  Mass.,  Rev.  Mr.  Hedge,  1828 

Charlestown,             "          "       "    Fay,  1819 

and  Juvenile  (private  schools),  1819,  1820,  1822,  1824,  1825 

Brookline,  Mass.,  Rev.  Dr.  Pierce,        1819,  '24 


"       Essex     " 
and  Juvenile,  Pine      " 
"         Salem    " 
Federal" 
Charles'' 
Bromfield-st. 
Franklin    " 
Hanover    " 
Hollis        "      ' 
Juvenile,  St.  Paxil's,        ' 
Cambridgeport,  Mass., 


"         Roxbury, 

"      "    Porter, 

1822,  1826 

Waltham, 

"     Mr.  Harding, 

1821,  24 

Newton , 

"      ''    Homer, 

1823 

Brighton, 

1823 

Salem, 

(private), 

1825 

Dedham, 

Rev.  Mr.  Burgess, 

1829 

and  Juvenile,  Medford, 

"      "    Stetson, 

1827 

LoweU, 

"      "    Edson, 

1824 

it 

"      "    Blanchard 

1832 

<( 

"      "    Freeman, 

1832 

and  Juvenile  (private  schools) 

> 

1832-3 

Woburn,  Mass., 

Rev.  Mr.  Bennett, 

1827 

Tewksbury 

u 

"      "    Coggin, 

1832 

Bedford, 

(( 

"      "    Stearns, 

1832 

and  Juvenile,  Nashua,  N. 

H.  ( 

private). 

1832-3 

240 


APPENDIX. 

SCHOOLS. 

LOCATION,    PARISHES, 

AND    CLERGYMEN. 

TEAR. 

ind  Juvenile, 

New  Bedford,  Mass. 

(private  schools). 

1833 

New  Bedford,    " 

Rev. 

Mr.  Holmes, 

1833 

Fair  Haven,       " 

"    Gould, 

1833 

Concord,  N.  H., 

"    Bouton, 

1834 

Hopkinton," 

"    Smith, 

1834 

Boscawen,  " 

"    Bennett, 

1834 

Dover, 

"    Root, 

1835 

Somersworth,  N.  H. 

"    Smith, 

1835 

*»  "         S.Berwick,  Me.,  Acad,  and  Rev.  Mr.  Keeler,  1835 

«  Brooklyn,  N.  Y.,  Rev.  Mr.  Howard,         1835-6 

*'  "  "  "      "    Dwight,  " 

"     and  Juvenile,  "  "        (private  schools),  *' 

New  York  City, 
Adult  and       "         Staten  Island,  N.  Y.,  Rev.  Mr.  Moore,         1836 
"  "         Elizabethtown,N.  J.  (private  schools),  1836-7 

**  "  "  "       Rev.  Mr.  Magee,         " 

"  at  the  Farms,      "       (private  schools),       1836 

"  "         Newark,  "      Rev.  Mr.  Cheevcr,  1836-7 

«  "         N.  Danvers,  Mass.,       "      "    Beman,        1837 

"  "         S.        "  "  1837 

"  "         Ashby,  "         Rev.  Mr.  Bates,      1837-8 

"  "         Hillsboro',  N.  IL,         "      "    Atwood,       " 

"  ''  "   Centre,  N.  H.,  " 

"   at  the  Bridge,  Rev.  Mr.  Cummings,  " 
W.Brookfield,Mass.,    "      "    Horton,    1843-4 
Warren,  "         "      "    Trask,  " 

Ware,  "       (private),  " 

Weathersfield,  Conn.,  " 

Providence,  R.  I.  (private  schools),  1842-3 

"     Munificent  Ch.,  Rev.  Dr.  Tucker, 
"     2d  Bapt.       "        "  Mr.  Dowling,  " 
"     Sailor's  Home,      "    "    Taylor, 
"     Meth.  Ch.,  Rev.  Mr.  Swinington, 
"     New  Society, 

"     High-street,  Rev.  Mr.  Parker, 
Newport,        "  ♦'      "    Thayer, 


(( 

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